{"id":51056,"date":"2026-03-04T08:30:43","date_gmt":"2026-03-04T08:30:43","guid":{"rendered":"https:\/\/mustafaayazmuzesi.com\/TR\/?page_id=51056"},"modified":"2026-03-04T08:50:54","modified_gmt":"2026-03-04T08:50:54","slug":"makaleler","status":"publish","type":"page","link":"https:\/\/mustafaayazmuzesi.com\/TR\/index.php\/mustafa-ayaz\/makaleler\/","title":{"rendered":"Makaleler"},"content":{"rendered":"\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t\t
\"20201114_223412524_858\"<\/figure><\/div>
\"20201114_223608215_35\"<\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Mustafa Ayaz<\/span>
\u00d6zge\u00e7mi\u015f<\/a>
Sergiler<\/a>
\u00d6d\u00fclleri<\/a>
Ki\u015fisel Yaz\u0131lar\u0131<\/a>
<\/a>\u25ba<\/span><\/a>Makaleler<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
Makaleler<\/strong><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\n\t\t\t\t\t
Mustafa Ayaz \/ Zafer Gen\u00e7ayd\u0131n <\/div><\/span>\n\t\t\t\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

1938 y\u0131l\u0131 A\u011fustos’unda Trabzon-\u00c7aykara il\u00e7esi Kabata\u015f K\u00f6y\u00fc’nde, ailesinin d\u00f6rd\u00fcnc\u00fc \u00e7ocu\u011fu olarak d\u00fcnyaya gelen Mustafa Ayaz’\u0131n \u00e7ocuklu\u011fu, II. D\u00fcnya Sava\u015f\u0131’n\u0131n getirdi\u011fi ekonomik bunal\u0131mlar i\u00e7erisinde ge\u00e7er. Sava\u015f y\u0131llar\u0131n\u0131n yokluklar\u0131 i\u00e7erisindeki bak\u0131ms\u0131zl\u0131k ve hastal\u0131klarla dolu \u00e7ocukluk ya\u015fam\u0131, neredeyse, o y\u0131llardaki her k\u0131rsal kesim \u00e7ocu\u011fununki gibi onun da yazg\u0131s\u0131 olmu\u015ftur. On g\u00fcn s\u00fcren a\u011f\u0131r ve ate\u015fli hastal\u0131ktan sonra yeniden dirilir. Dokuzuncu g\u00fcn g\u00f6zlerini a\u00e7t\u0131\u011f\u0131nda, hastal\u0131k boyunca yemediklerinin ac\u0131s\u0131n\u0131 \u00e7\u0131kar\u0131rcas\u0131na, bir g\u00fcnde on iki kez yemek yedi\u011fini annesi s\u00f6yl\u00fcyor sonradan.<\/span>
Yokluklara ve hastal\u0131klara direnerek on ya\u015f\u0131na varan \u00e7ocuk M.Ayaz hen\u00fcz okulla tan\u0131\u015fmam\u0131\u015ft\u0131r.<\/span>

K\u00f6y\u00fcn kenar\u0131ndaki baba evi, k\u00f6ye bir saat uzakl\u0131ktaki ilkokula yaya gidip gelen \u00e7ocuklar\u0131n, \u0131s\u0131nmak ve dinlenmek i\u00e7in s\u0131\u011f\u0131nma yeri olur zaman zaman.<\/span>

Buruk bir \u00f6zlemle bakt\u0131\u011f\u0131 okullu arkada\u015flar\u0131ndan ald\u0131\u011f\u0131 ucu yamru yumru yar\u0131m bir kur\u015funkalemle yazma \u00f6zlemini gidermeye \u00e7al\u0131\u015fan Mustafa Ayaz ancak on ya\u015f\u0131nda okula gitme olana\u011f\u0131n\u0131 bulur.<\/span>
1953’te ilkokulu bitiren Ayaz, o y\u0131llarda \u00e7o\u011fu k\u00f6yl\u00fc \u00e7ocu\u011fu gibi, ancak yat\u0131l\u0131 bir okula girebilirse okumay\u0131 s\u00fcrd\u00fcrebilecektir. S\u0131navla yat\u0131l\u0131 olarak girdi\u011fi Erzurum-Pulur K\u00f6y Enstit\u00fcs\u00fc, suluboya kutusunu bile ilk kez g\u00f6rebildi\u011fi yer olacakt\u0131r. Resimden \u00e7ok matematik derslerine ilgisi a\u011f\u0131r basmaktad\u0131r. Sekizinci s\u0131n\u0131fta iken, T\u00fcrk\u00e7e kitab\u0131ndaki ” Osman Kaptan” okuma par\u00e7as\u0131 onu sanata bula\u015ft\u0131ran \u00f6nemli bir rastlant\u0131 olmu\u015ftur: Par\u00e7ada Osman Kaptan’ \u0131n fiziksel portresi betimlenmekte ve \u00f6devi b\u00f6l\u00fcm\u00fcnde ise \u00f6yk\u00fc kahramanlar\u0131n\u0131n resminin \u00e7izilmesi istenmektedir. \u00d6dev gere\u011fi karton \u00fczerine \u00e7izdi\u011fi porteyi, \u00f6\u011fretmeninin g\u00f6rebilece\u011fi bir yere, kitapl\u0131\u011f\u0131n \u00f6n\u00fcne asar Ayaz. Portreyi \u00e7ok be\u011fenen \u00f6\u011fretmeni, “Seni \u0130stanbul-\u00c7apa \u0130lk\u00f6\u011fretmen Okulu Resim Semineri’ne g\u00f6nderelim.” der.<\/span>
Art\u0131k, \u0130stanbul d\u00fc\u015f\u00fcyle gece g\u00fcnd\u00fcz resim \u00e7al\u0131\u015fan \u00f6\u011fretmen okulu \u00f6\u011frencisi Ayaz, Resim Semineri s\u0131nav\u0131na bir bavul dolusu desenle gider.<\/span>

Sanat ya\u015fam\u0131n\u0131n \u00f6nemli bir dura\u011f\u0131 olan Gazi E\u011fitim Enstit\u00fcs\u00fc Resim-\u0130\u015f Bol\u00fcm\u00fc’ne 1960 y\u0131l\u0131nda girer. O y\u0131llarda gen\u00e7 bir \u00f6\u011fretim eleman\u0131 olarak Avrupa’dan yeni d\u00f6nm\u00fc\u015f olan de\u011ferli sanat\u00e7\u0131 Adnan Turani’ nin \u00f6\u011frencisi olarak tutkulu bir \u00e7al\u0131\u015fma d\u00f6neminden sonra Resim-\u0130\u015f B\u00f6l\u00fcm\u00fc’n\u00fc bitirir. 1963-66 y\u0131llar\u0131 aras\u0131ndaki, \u00c7orum \u0130lk\u00f6\u011fretmen Okulu Resim \u00d6\u011fretmeni Mustafa Ayaz’\u0131, birlikte \u00e7al\u0131\u015ft\u0131\u011f\u0131 yazar Adnan Binyazar \u015f\u00f6yle anlat\u0131yor:<\/span>

“Tuval, \u00c7orum bozk\u0131r\u0131n\u0131n ortas\u0131nda; Paris’ten, Roma’dan, Trabzon’un \u00c7aykara’s\u0131ndan, Kandinski’lerden, Dufy’lerden renklerle doluydu. Okumad\u0131\u011f\u0131 zaman resim yap\u0131yordu, resim yapm\u0131yorsa okuyordu. Elinde de\u011fnek, ya\u015famsal bir senfoniyi y\u00f6netiyordu sanki.”<\/span>
1966 y\u0131l\u0131nda Gazi E\u011fitim Enstit\u00fcs\u00fc Resim \u2014 \u0130\u015f B\u00f6l\u00fcm\u00fcne asistan olan sanat\u00e7\u0131, burada ve Hacettepe \u00dcniversitesi G\u00fczel Sanatlar Fak\u00fcltesi Resim B\u00f6l\u00fcm\u00fcnde \u00f6\u011fretim g\u00f6revliliklerinde bulunduktan sonra, Bilkent \u00dcniversitesi G\u00fczel Sanatlar Fak\u00fcltesi Resim B\u00f6l\u00fcm\u00fc \u00f6\u011fretim \u00fcyeli\u011finden emekli oldu.<\/span>

Bu yaz\u0131da Ayaz’\u0131n sanat\u0131n\u0131 sanatbilimsel a\u00e7\u0131dan de\u011ferlendirmekten \u00e7ok, onu bir sanat\u00e7\u0131 tipi olarak tan\u0131tmak ama\u00e7lanm\u0131\u015ft\u0131r.<\/span>
Ayaz’\u0131 1962 y\u0131l\u0131ndan beri tan\u0131yor ve izliyorum. 1978’den sonra uzun y\u0131llar ayn\u0131 \u00e7at\u0131 alt\u0131nda \u00e7al\u0131\u015ft\u0131k. Daha \u00f6nemlisi, kendi kendisiyle ba\u015f ba\u015fa oldu\u011fu zamanlarda; sarho\u015fken, ay\u0131kken, hastayken, \u00e7al\u0131\u015f\u0131rken tuttu\u011fu notlar\u0131 okudum. Bunlar, en i\u00e7ten oldu\u011fu anlardaki; etkilenmelerden uzak, en yal\u0131n, g\u00f6steri\u015fsiz d\u00fc\u015f\u00fcnceleri, kendini ele veri\u015fleridir: Sanat anlay\u0131\u015f\u0131n\u0131n, ac\u0131lar\u0131n\u0131n, doyumsuzluklar\u0131n\u0131n, \u00f6zlemlerinin, nefretlerinin, k\u00fcf\u00fcrlerinin, cinsel ya\u015fama bak\u0131\u015flar\u0131n\u0131n d\u0131\u015favurumudur. Az da olsa tan\u0131d\u0131\u011f\u0131m\u0131 san\u0131yorum onu. \u00c7\u00fcnk\u00fc co\u015fkular\u0131n\u0131, \u00e7ocuksu sevin\u00e7lerini, burnunda soluyan \u00f6fkesini, z\u0131vanadan \u00e7\u0131kt\u0131\u011f\u0131 anlar\u0131n\u0131, insana gereksizmi\u015f gibi gelen ka\u00e7\u0131\u015flar\u0131n\u0131, korkular\u0131n\u0131, utanga\u00e7 bir gen\u00e7 k\u0131z gibi kulaklar\u0131na dek k\u0131zaran \u00e7ekingenliklerini, b\u00eer topluluk kar\u015f\u0131s\u0131na \u00e7\u0131karken solu\u011funun kesili\u015fini, yerinde duramayan yarat\u0131l\u0131\u015f\u0131n\u0131, bazen bir an bile dinlenmeyi beceremeyen tedirginliklerini biliyorum.<\/span>

Yeti\u015fti\u011fi y\u00f6renin do\u011fal yap\u0131s\u0131ndan tutun da, toplumsal ve k\u00fclt\u00fcrel de\u011fer yarg\u0131lar\u0131yla beslenmi\u015f olan; y\u00f6resinin halk danslar\u0131 gibi k\u0131p\u0131r k\u0131p\u0131r, yerinde duramayan ki\u015fili\u011fiyle, bu Karadeniz \u00e7ocu\u011funun resimlerine bakt\u0131\u011f\u0131m\u0131zda, kad\u0131n temas\u0131n\u0131n a\u011f\u0131r bast\u0131\u011f\u0131 hemen g\u00f6ze \u00e7arpmaktad\u0131r.<\/span>

“Gurbet\u00e7i” Karadeniz toplumundaki ya\u015fama bi\u00e7imi, kad\u0131n aile yap\u0131s\u0131 i\u00e7erisinde en \u00f6nemli fig\u00fcr durumuna getirmi\u015ftir. Kad\u0131n, i\u00e7inde yeti\u015fti\u011fi \u00e7evre ile bug\u00fcn i\u00e7inde ya\u015fad\u0131\u011f\u0131 b\u00fcy\u00fck kent ya\u015fam\u0131n\u0131n \u00e7eli\u015fkilerini birlikte i\u00e7eren; sanat\u00e7\u0131n\u0131n kendi ger\u00e7e\u011finin yaratt\u0131\u011f\u0131 bir tiptir. Kad\u0131n konusu, plastik \u00f6\u011felerin sanatsal bir i\u00e7erikle d\u00fczenlenmesi gereken bir ara\u00e7 olmakla birlikte, ayn\u0131 zamanda kendi kendisiyle ve toplumla yapt\u0131\u011f\u0131 bir s\u00f6yle\u015finin, uzla\u015fmaya varan bir hesapla\u015fman\u0131n plastik planda ger\u00e7ekle\u015ftirilmesidir. Koyu-a\u00e7\u0131k ve \u00e7izgi de\u011ferlerinin ince ge\u00e7i\u015fleriyle kad\u0131nsall\u0131\u011f\u0131n t\u00fcm renklili\u011fini ve dokusal yumu\u015fakl\u0131\u011f\u0131n\u0131 duyumsatan bu duyarl\u0131\u011f\u0131n\u0131n alt\u0131nda, kad\u0131n\u0131n gizemli evrenine olan ula\u015f\u0131lmazl\u0131\u011f\u0131n \u00e7ekicili\u011fi ve duydu\u011fu sayg\u0131 yatar. Mitosla\u015ft\u0131rd\u0131\u011f\u0131 kad\u0131nlar\u0131ndaki saf ve temiz bir k\u00f6sn\u00fcll\u00fc\u011f\u00fcn (erotiklik) g\u00f6rkemi Ayaz’\u0131n fig\u00fcrlerinin \u00f6zelli\u011fini olu\u015fturmaktad\u0131r. Sanat\u0131na itici g\u00fc\u00e7 olan \u00e7ok \u00f6nemli ve g\u00fc\u00e7l\u00fc b\u00eer motiftir. A\u011f\u0131r basan bu erotik duygular\u0131n d\u0131\u015favurumuna yal\u0131n bir anlat\u0131m yolu olarak fig\u00fcratif yorum anlay\u0131\u015f\u0131n\u0131n se\u00e7imi, sanat\u00e7\u0131n\u0131n kendine uygun bir bi\u00e7im dilini se\u00e7enek olarak benimsemesiyle ilgilidir.<\/span>

\u00d6\u011fretilere, manifestolara g\u00f6re sanat yap\u0131lamayaca\u011f\u0131n\u0131, ki\u015finin kendine g\u00f6re bir dil yaratmas\u0131 gerekti\u011fini savunarak, hi\u00e7bir moda ak\u0131m\u0131n pe\u015fine tak\u0131lmadan bu g\u00fcne gelmi\u015f bir sanat\u00e7\u0131d\u0131r Ayaz. Tekkesinde \u00e7ile \u00e7eken bir dervi\u015f \u00f6rne\u011fi, g\u00fcc\u00fcn\u00fc, kendi deneyimleriyle, t\u00fckenmek bilmeyen enerjisinden kaynaklanan \u00e7al\u0131\u015fkanl\u0131\u011f\u0131na ve i\u00e7tenli\u011fine bor\u00e7ludur. \u0130\u00e7ine kapal\u0131 ki\u015fili\u011fi, onun d\u0131\u015far\u0131ya a\u00e7\u0131lmas\u0131n\u0131 engelleyecek boyutlardad\u0131r. A\u015f\u0131r\u0131 kertede \u00e7ekingen olu\u015fu, \u00e7ok s\u0131n\u0131rl\u0131 yak\u0131n arkada\u015f ve dost \u00e7evresinin d\u0131\u015f\u0131na a\u00e7\u0131lmas\u0131na da ket vurmaktad\u0131r. Ancak bu davran\u0131\u015flar\u0131 onun ya\u015fama sevincinden yoksun ve ya\u015fama k\u00fcsk\u00fcn oldu\u011fu anlam\u0131na gelmez kesinlikle. S\u00fcrekli resim yapmay\u0131 kendisine ya\u015fam bi\u00e7imi olarak se\u00e7mi\u015f, ya\u015fam\u0131n “haz”m\u0131 \u00e7al\u0131\u015fmakta bulan bir ki\u015fi olarak bilinir. Bir insan \u00f6mr\u00fcne s\u0131\u011fd\u0131r\u0131lamayacak denli \u00e7ok say\u0131da yap\u0131t vermesinin nedenlerinden b\u00eeri de ku\u015fkusuz \u00e7al\u0131\u015fmay\u0131 kendine ya\u015fam bi\u00e7imi olarak se\u00e7mesine ba\u011fl\u0131d\u0131r. Bir sanat\u00e7\u0131 i\u00e7in yarat\u0131c\u0131l\u0131\u011f\u0131 duyumsamak ve ya\u015fam deneyimlerinin zenginli\u011fi ile sanatsal yaratmada itici g\u00fc\u00e7 olabilecek doygunlu\u011fa ula\u015fabilmek \u00f6nemlidir. Yeti\u015fti\u011fi ortam\u0131n do\u011fal sonucu ve ekonomik ya\u015fam ko\u015fullar\u0131n\u0131n gere\u011fi olarak Ayaz, sanat yapabilmek u\u011fruna her t\u00fcr \u00e7ileye katlanmak zorunda kalm\u0131\u015ft\u0131r. K\u00f6kle\u015fik sanat\u00e7\u0131 tipinin yazg\u0131s\u0131n\u0131 onun ya\u015fam\u0131nda g\u00f6rmek olas\u0131d\u0131r. T\u00fcm olumsuz ko\u015fullara kar\u015f\u0131n \u00fcretken bir sanat\u00e7\u0131 d\u0131r. Ya\u011fl\u0131boya, suluboya,desen ve \u00f6zg\u00fcnbask\u0131lar\u0131n\u0131n say\u0131s\u0131 binlere var\u0131r.<\/span>

Resimde bi\u00e7imin \u00f6nemini s\u0131k s\u0131k vurgulayan sanat\u00e7\u0131n\u0131n desenlerinde, \u00e7o\u011funlukla tema olarak i\u015fledi\u011fi insan fig\u00fcrleri, nat\u00fcrmortlar ve do\u011fa g\u00f6r\u00fcn\u00fcmleri, alt yap\u0131y\u0131 olu\u015fturan geometrik planlarda yer alabildikleri gibi, kaosu and\u0131ran bir kompozisyon anlay\u0131\u015f\u0131 i\u00e7erisinde d\u00fczenlendikleri de g\u00f6r\u00fclmektedir. Kimi desenlerinde bir ya da \u00e7ok say\u0131daki fig\u00fcrler; modle edilmi\u015f olarak bir leke, siluet bi\u00e7iminde ya da yal\u0131n-\u00e7izgi desen bi\u00e7iminde yan yana, arka arkaya s\u0131ralanm\u0131\u015f olarak yer al\u0131rlar. Bu istif anlay\u0131\u015f\u0131 i\u00e7erisinde birka\u00e7 fig\u00fcr birle\u015ferek fig\u00fcrler y\u0131\u011f\u0131n\u0131ndan olu\u015fan bir motif ortaya \u00e7\u0131kmaktad\u0131r. Kimi zaman motif, genel kompozisyonu olu\u015fturabilece\u011fi gibi, \u00e7evreye serpi\u015ftirilmi\u015f, \u00e7e\u015fitli bi\u00e7imlerden olu\u015fan yard\u0131mc\u0131 motiflerin destekledi\u011fi ana motif bi\u00e7iminde de belirebilir. Ana motif genellikle modle edilmi\u015f \u00e7\u0131plaklardan ya da somut nesne g\u00f6r\u00fcnt\u00fclerinden olu\u015furken, yan motiflerin,\u00e7izgi desen anlay\u0131\u015f\u0131ndaki insan, hayvan fig\u00fcrlerinden ya da simgesel bi\u00e7imlerden olu\u015ftu\u011fu g\u00f6r\u00fcl\u00fcr. Ak\u0131c\u0131 bir bi\u00e7emle \u00e7izilmi\u015f olan bu desenlerin kimi kez mizah yanlan da vard\u0131r.<\/span>

Gerek bi\u00e7em gerekse bi\u00e7im y\u00f6n\u00fcnden “yinelemeler” mi\u015f gibi alg\u0131lanabilirlik \u00f6zelli\u011fine sahip olan Ayaz’\u0131n desenlerine dikkatle bak\u0131ld\u0131\u011f\u0131nda, bunlar\u0131n, yo\u011fun bir \u00e7izgisel devingenlik i\u00e7erisinde, resmin t\u00fcm y\u00fczeyine yay\u0131lm\u0131\u015f zengin tiplemeler oldu\u011fu g\u00f6r\u00fcl\u00fcr. Al\u0131\u015fkanl\u0131\u011f\u0131n getirdi\u011fi “\u015fema” tipler de\u011fildir bunlar. Resimde yer alan t\u00fcm \u00f6\u011feler, y\u00fcklendikleri bi\u00e7imsel ve anlat\u0131msal i\u015flevlere g\u00f6re, de\u011fi\u015fik duyarl\u0131ktaki \u00e7izgilerin yaratt\u0131\u011f\u0131 resimsel bir b\u00fct\u00fcnl\u00fckle birle\u015fmektedirler; \u00e7e\u015fitli a\u011fa\u00e7lar\u0131n birle\u015ferek bir orman b\u00fct\u00fcn\u00fcn\u00fc olu\u015fturduklar\u0131 gibi. Y\u00fczlerce fig\u00fcr\u00fcn olu\u015fturdu\u011fu bir \u00f6rg\u00fc i\u00e7erisinde birbiriyle ilgisi olmayan bi\u00e7imler bile bu b\u00fct\u00fcnl\u00fc\u011fe hizmet ederler. Sanat\u00e7\u0131n\u0131n, baz\u0131 konular\u0131 s\u0131k s\u0131k \u00e7al\u0131\u015fmas\u0131 (\u00d6rne\u011fin: dans, ressam ve modeli, gecekondu insanlar\u0131, portreler vb.) resimlerinin yinelendi\u011fi izlenimini b\u0131rakmas\u0131na neden olmaktad\u0131r. Bir sanat\u00e7\u0131n\u0131n ayn\u0131 konuyu d\u00f6ne d\u00f6ne i\u015flemesi do\u011fal oldu\u011fu gibi, e\u011fer ayn\u0131 konuyu ya da motifi zengin \u00e7e\u015fitlemeleri i\u00e7erisinde yap\u0131tla\u015ft\u0131rabiliyorsa \u00f6vg\u00fcye de\u011fer bulunmal\u0131d\u0131r. T\u00fcm y\u00fczeye yay\u0131lm\u0131\u015f, yaz\u0131l\u0131 tablet etkisini uyand\u0131ran kaligrafik desenleri, ya\u015fam\u0131n t\u00fcm ya\u015fanamam\u0131\u015fl\u0131klar\u0131na ve ya\u015fanmak istenenlerine ili\u015fkin d\u00fc\u015f\u00fcncelerinin notlar\u0131d\u0131r: “E\u015fyan\u0131n dura\u011fan bi\u00e7imini de\u011fil, ya\u015fam\u0131n t\u00fcm\u00fcn\u00fc resmetmek istiyorum” derken; o, g\u00f6r\u00fcnt\u00fcsel d\u0131\u015f d\u00fcnyadan \u00e7ok, ekonomik, toplumsal ve k\u00fclt\u00fcrel de\u011fer yarg\u0131lar\u0131n\u0131n bi\u00e7imlendirdi\u011fi kendi psi\u015fik evrenini yans\u0131tmaktad\u0131r. Anlatmak istedi\u011fi ya\u015fam\u0131n ba\u015f oyuncusu genellikle kendisidir. Resimlerinin \u00e7o\u011funda kendisi ve modeli vard\u0131r zaten. Haz\u0131rlanm\u0131\u015f ve tasarlanm\u0131\u015f konular de\u011fildir bunlar. Onun i\u00e7in tuval, tasarlanm\u0131\u015f konular\u0131n d\u00fczenlendi\u011fi alan de\u011fil “oyun alan\u0131d\u0131r”. Ondaki, ya\u015famakla \u00f6zde\u015fle\u015fmi\u015f olan “\u00e7izmek” eylemi; b\u00eer noktayla, \u00e7izgiyle, bir \u00e7\u0131plakla, kendi portresiyle ba\u015flar ve kendili\u011finden geli\u015ferek konuya ula\u015f\u0131r. Konu hep haz\u0131rd\u0131r yani: \u00c7\u0131plak, giyinik, yar\u0131 \u00e7\u0131plak, bir ressam (kendisi) ve modeli ya da \u00e7ar\u015fafl\u0131 bir kad\u0131n… Kendisinin de bulundu\u011fu bu evrende, onu en \u00e7ok ilgilendiren insand\u0131r. \u0130nsan ve toplum ya\u015fam\u0131n\u0131n t\u00fcm g\u00fczelliklerini, \u00e7eli\u015fkilerini, korkular\u0131n\u0131, ka\u00e7\u0131\u015flar\u0131n\u0131, isteklerini panoramik bir planda d\u0131\u015fa vurmak isteyen safy\u00fcrek bir yakla\u015f\u0131m i\u00e7indedir. \u00d6yle ki, zaman\u0131n s\u0131n\u0131rl\u0131l\u0131\u011f\u0131 nedeniyle, konuyla ilgili her \u015feyi anlatmak isteyen bir konu\u015fmac\u0131n\u0131n tela\u015f\u0131 i\u00e7indeymi\u015f gibidir. Sonu\u00e7 olarak sanat\u00e7\u0131; ister yeti\u015fti\u011fi ve i\u00e7inde ya\u015fad\u0131\u011f\u0131 toplumun, insan do\u011fas\u0131n\u0131n bir par\u00e7as\u0131 olan “cinsel ger\u00e7ek”ten bir “g\u00fcnah ve utan\u00e7 k\u00fclt\u00fcr\u00fc yaratm\u0131\u015f” olma olgusunun yaratt\u0131\u011f\u0131 ikilemi; ister ya\u015fam ve yeti\u015fme bi\u00e7iminden kaynaklanan ki\u015fisel korku ve tepkilerini ya da \u00e7eli\u015fkilerini dile getirmi\u015f olsun yapt\u0131klar\u0131 gene de ki\u015fili\u011finin bir yans\u0131mas\u0131 ve i\u00e7 evreninin adresleri olarak de\u011ferlendirilebilir. O \u00e7al\u0131\u015f\u0131rken, bazen \u00e7ocuk gibi kab\u0131na s\u0131\u011fmayan bir co\u015fku i\u00e7inde, bazen \u00e7al\u0131ya \u00e7arp\u0131lm\u0131\u015f\u00e7as\u0131na \u015fa\u015fk\u0131n, bazen kendi kendini yercesine huzursuz, surat\u0131 allak bullakt\u0131r. \u00c7izdik\u00e7e \u00e7\u0131lg\u0131nla\u015fan ve insana \u00fcrk\u00fcnt\u00fc veren ruhsal bir gerilimi birlikte ya\u015far insan. \u00d6yle bir gerilim ki; ancak “resim cinneti” olarak nitelenebilir. “Acaba resim yapmasa, ne yapard\u0131 bu adam” diye d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm \u00e7ok olmu\u015ftur.<\/span>

Adam Sanat \/ Ekim 2002<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

\n\t\t\t\t\n\t\t\t\t\t
Yaratt\u0131\u011f\u0131na El S\u00fcrd\u00fcrmeyen Gizli Tanr\u0131 \/ Adnan Binyazar <\/div><\/span>\n\t\t\t\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Mustafa Ayaz\u2019\u0131n toplu sergisini belki de ilk g\u00f6ren benim. \u00c7orum \u00d6\u011fretmen Okulu’na geldi\u011finde ilk i\u015fi, ardiyeyi at\u00f6lyeye \u00e7evirmek oldu. \u00c7\u00fcr\u00fcmeye b\u0131rak\u0131lm\u0131\u015f e\u015fyalar\u0131n yerini sehpalar, tuvaller ald\u0131\u011f\u0131nda, duvarlara ast\u0131\u011f\u0131 resimlerle zamans\u0131zl\u0131\u011f\u0131 ya\u015famaya ba\u015flam\u0131\u015ft\u0131 bile. Ben, o resimlerin her g\u00fcnk\u00fc izleyicisiydim.<\/span>
Sanat, zamans\u0131zl\u0131kt\u0131r.<\/span>

Kendi bi\u00e7emini sindirdi\u011fi salonda cans\u0131zl\u0131\u011f\u0131 canland\u0131r\u0131yordu. At\u00f6lyesi, galerisi, sanat\u00e7\u0131s\u0131 i\u00e7 i\u00e7e ge\u00e7mi\u015f bir resim d\u00fcnya\u2019s\u0131n\u0131n tek yurtta\u015f\u0131yd\u0131. Okulda eli y\u00fcz\u00fc boyal\u0131 \u00f6\u011frenciler dola\u015f\u0131yordu. Ayaz, yetenekleri yaln\u0131zca parmaklar\u0131nda olanlar\u0131 se\u00e7miyordu, se\u00e7tiklerinin g\u00f6zlerine de bak\u0131yordu. E\u011fitimin, yarat\u0131c\u0131 insan yeti\u015ftirme ilkesini yo\u011fun emekler katarak uyguluyor, i\u015f i\u00e7inde hem kendini, hem \u00f6\u011frencilerini var ediyordu. \u00dc\u00e7 be\u015f ay i\u00e7inde, o \u00fcst\u00fcn desenci yetene\u011fine geni\u015f tuvaller bulmu\u015f, \u00f6\u011frencilerine boya s\u00fcrme cesareti kazand\u0131rm\u0131\u015ft\u0131. “\u00d6mr\u00fc, o b\u00fcy\u00fck sava\u015f\u0131n haz\u0131rl\u0131\u011f\u0131 ile ge\u00e7iyor”du.<\/span>

B\u0131kmadan, usanmadan resim yap\u0131yordu. \u00c7evresindeki insanlar\u0131n maceras\u0131n\u0131 yans\u0131tmaya da e\u011filimliydi; ama, o, zamans\u0131zl\u0131k i\u00e7inde bir Prometheus gibi, insana can verecek bir ate\u015f’in ard\u0131ndayd\u0131. \u0130nsan yoktu; insan, sanat\u00e7\u0131n\u0131n yaratt\u0131\u011f\u0131yd\u0131. Ayaz, yaratt\u0131\u011f\u0131n\u0131n gizlerine ermeye \u00e7al\u0131\u015fan bir uzak\u00e7a\u011flar tanr\u0131s\u0131n\u0131n solu\u011funu duyumsayarak, desenlerle, renklerle, bi\u00e7imlerle yeni bir g\u00fczellik d\u00fcnyas\u0131n\u0131n kap\u0131s\u0131n\u0131 aral\u0131yordu.Onun resmi, sanatsal varolu\u015fun simgesidir.<\/span>

Ayaz, ancak kendi parmaklar\u0131yla \u00e7izece\u011fi deseni, kendi g\u00f6zleriyle yarataca\u011f\u0131 rengi, kendi beyniyle kurgulayaca\u011f\u0131 bi\u00e7imi ar\u0131yordu. Gauguin’e, “Ruhlar\u0131 bekleyen yerli k\u0131z\u0131n korkusunu ne g\u00fczel belirtmi\u015fsiniz!” derler de, o da, “Konu o, ama ben o resimde mavi ile ye\u015fili uyu\u015fturmak istedim.” der. Ayaz, Gauguin gibi, kendi be\u011fenisinden beslenen uyu\u015fumu yaratmak istiyor; ” Kendi g\u00fcc\u00fcn\u00fc, kendi ger\u00e7e\u011fini s\u00fcrekli ara\u015ft\u0131r\u0131yor” du.\u00a0<\/span>

Trabzon’un \u00c7aykara’s\u0131nda do\u011fup, \u00c7orum’un esintili bozk\u0131r havas\u0131nda, balerin(ler) \u00e7izen Ayaz beni \u015fa\u015f\u0131rt\u0131rd\u0131. Yo\u011fun i\u00e7 g\u00f6zlemlerle olu\u015fan bedensel devinimlerdeki k\u0131vr\u0131lmalar, Ayaz’\u0131n, beyin erotizmine ula\u015fma \u00e7abalar\u0131n\u0131n ilk k\u0131p\u0131rdan\u0131\u015flar\u0131yd\u0131. Desen-renk-bi\u00e7im \u00fc\u00e7lemi Ayaz resminin titre\u015fim noktalar\u0131d\u0131r. Ayaz, \u00f6zellikle renkleriyle, ayk\u0131r\u0131l\u0131klar\u0131 uyu\u015fuma d\u00f6n\u00fc\u015ft\u00fcren inceliklerin ressam\u0131d\u0131r. Kad\u0131n \u00e7izimlerinde (Kendinden ba\u015fka erkek var m\u0131d\u0131r onun resimlerinde?) kulland\u0131\u011f\u0131 egemen renkler (Ayaz k\u0131rm\u0131z\u0131s\u0131, Ayaz beyaz\u0131, Ayaz karas\u0131) onun sanatsal erotizminin de kayna\u011f\u0131d\u0131r. G\u00f6zde sessel bir titre\u015fim etkisi yaratan erotizm, kurgulad\u0131\u011f\u0131 bu uyu\u015fumsal dengenin sonucudur. Yaratan sanat\u00e7\u0131 ile, yarat\u0131lan varl\u0131k aras\u0131ndaki bu ince dengeyle kurulur Ayaz resminin be\u011fenisi. Onun i\u00e7in, yaratt\u0131\u011f\u0131na g\u00f6zle bile el s\u00fcrd\u00fcrmeyen gizli bir tanr\u0131 gibi, Ayaz, hemen her resminde g\u00f6r\u00fcnt\u00fclenir. Renk olarak da, desen olarak da siliktir bu g\u00f6r\u00fcnt\u00fc; ama, belirgindir. Sanki varl\u0131k olarak yok da, yarat\u0131 olarak var; ancak sanat\u00e7\u0131n\u0131n yaratabilece\u011fi insan boylam\u0131nda… Her resminde, g\u00f6r\u00fcnt\u00fcs\u00fcyle, yoklu\u011funu duyumsayan, ama varl\u0131\u011f\u0131n\u0131 da yads\u0131mayan bir artki\u015fi… Ayaz, “T\u00fcm yap\u0131tlar\u0131m, hapsedilen a\u015fklar\u0131n \u00f6yk\u00fcs\u00fcd\u00fcr.”yarg\u0131s\u0131yla da bunu vurguluyor.<\/span>

Ne \u00e7izerse \u00e7izsin, ressam, \u00e7izdi\u011fini simgele\u015ftirir; renkle, bi\u00e7imle dondurur onu. Bilin\u00e7alt\u0131nda, \u00e7izdi\u011finin kendisinden uzakla\u015ft\u0131\u011f\u0131 korkusunu ya\u015far. Bu ba\u011flamda, Ayaz, resimlerindeki kendi fig\u00fcr\u00fcyle, kendi yaratt\u0131\u011f\u0131na bir s\u0131\u011f\u0131nma duygusu i\u00e7indedir. Horoz g\u00f6r\u00fcn\u00fcm\u00fcnde, erkeklik simgesi olarak nitelenen Ayaz fig\u00fcr\u00fc, ger\u00e7ekte, resmi ile kendi aras\u0131nda olu\u015fan bir i\u00e7benlik karma\u015fas\u0131n\u0131 yans\u0131t\u0131r. Silik \u00e7izgilerle, s\u0131vama renklerle belirse de, \u00f6b\u00fcr fig\u00fcrler dura\u011fan, Ayaz fig\u00fcr\u00fc ise devingendir. Bu fig\u00fcr, yaratt\u0131\u011f\u0131n\u0131 kapt\u0131rmamak i\u00e7in sava\u015fa haz\u0131rlanan bir koruyucu g\u00fc\u00e7, s\u0131\u011f\u0131n\u0131lan bir kucak, yaratt\u0131\u011f\u0131n\u0131 i\u00e7inde bar\u0131nd\u0131rma duygusudur.\u00a0<\/span>

Hep d\u00fc\u015f\u00fcn\u00fcr\u00fcm; resim g\u00f6r\u00fcnt\u00fc m\u00fcd\u00fcr, \u00e7a\u011fr\u0131\u015f\u0131mlar karma\u015fas\u0131 m\u0131; sanata yakla\u015f\u0131l\u0131r m\u0131, sanat m\u0131 kendine yakla\u015ft\u0131r\u0131r; yakla\u015ft\u0131k\u00e7a \u00e7a\u011fr\u0131\u015f\u0131mlarla sarmalay\u0131c\u0131, uza\u011f\u0131ndakini d\u0131\u015flay\u0131c\u0131 bir g\u00fcc\u00fc de yok mu?<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

\n\t\t\t\t\n\t\t\t\t\t
Mustafa Ayaz \/ Zafer Gen\u00e7ayd\u0131n <\/div><\/span>\n\t\t\t\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

(Zafer Gen\u00e7ayd\u0131n\u2019\u0131n Mustafa Ayaz\u2019\u0131n sanat\u00e7\u0131 ki\u015fili\u011fi ve m\u00fczesi hakk\u0131nda yazd\u0131\u011f\u0131 kitaptan se\u00e7meler\u2026)

\"\"
Bu kitapta, 1962 y\u0131l\u0131ndan beri tan\u0131d\u0131\u011f\u0131m ve 1978’den sonra da ayn\u0131 \u00e7at\u0131 alt\u0131nda y\u0131llarca birlikte \u00e7al\u0131\u015ft\u0131\u011f\u0131m Ayaz’\u0131n sanat\u0131n\u0131 sanat\/bilimsel a\u00e7\u0131dan de\u011ferlendirmekten \u00e7ok onu bir sanat\u00e7\u0131 tipi olarak tan\u0131tmak ama\u00e7lanm\u0131\u015ft\u0131r. Daha \u00f6nemlisi, Ayaz’\u0131n kendi kendisiyle ba\u015f ba\u015fa oldu\u011fu zamanlarda, akl\u0131na geldik\u00e7e tuttu\u011fu notlar\u0131 okudum. Bunlar en i\u00e7ten oldu\u011fu anlardaki, etkilenmelerden uzak, en yal\u0131n, g\u00f6steri\u015fsiz d\u00fc\u015f\u00fcnceleri, kendini ele veri\u015fleri; sanat anlay\u0131\u015f\u0131n\u0131n, ac\u0131lar\u0131n\u0131n, doyumsuzluklar\u0131n\u0131n, \u00f6zlemlerinin, nefretlerinin, ya\u015fama bak\u0131\u015flar\u0131n\u0131n d\u0131\u015favurumudur. Bir \u00f6l\u00e7\u00fcde tan\u0131d\u0131\u011f\u0131m\u0131 san\u0131yorum onu. \u00c7\u00fcnk\u00fc co\u015fkular\u0131n\u0131, \u00e7ocuksu sevin\u00e7lerini, burnundan soluyan \u00f6fkesini, z\u0131vanadan \u00e7\u0131kt\u0131\u011f\u0131 anlar\u0131n\u0131, insana gereksizmi\u015f gibi gelen ka\u00e7\u0131\u015flar\u0131n\u0131, korkular\u0131n\u0131, utanga\u00e7 bir gen\u00e7 k\u0131z gibi kulaklar\u0131na dek k\u0131zaran \u00e7ekingenliklerini, bir topluluk kar\u015f\u0131s\u0131na \u00e7\u0131karken solu\u011funun kesili\u015fini, huzursuzluklar\u0131n\u0131, \u00e7\u0131karc\u0131l\u0131klara ve ilkelliklere ifrit olu\u015funu, yerinde duramayan yarat\u0131l\u0131\u015f\u0131n\u0131, bazen bir an bile dinlenmeyi beceremeyen tedirginliklerini biliyorum. Kimi kez ipek gibi yumu\u015fak, sevecen, yerine g\u00f6re de granit gibi sert, kararl\u0131 tav\u0131rlar\u0131n\u0131; ya\u015fam\u0131n \u00e7eli\u015fkilerini yakalayan kara mizah\u00e7\u0131, espri k\u00fcp\u00fc y\u00f6n\u00fcn\u00fc ve mide s\u0131k\u0131\u015fmalar\u0131n\u0131 kalp krizi sanan kayg\u0131lar\u0131n\u0131 da\u2026<\/p>

Gazi E\u011fitim Enstit\u00fcs\u00fc Resim-\u0130\u015f B\u00f6l\u00fcm\u00fcndeki \u00f6\u011frencilik y\u0131llar\u0131ndan beri tan\u0131d\u0131\u011f\u0131m ve sonradan ayn\u0131 kurumlarda birlikte \u00e7al\u0131\u015fm\u0131\u015f olmam\u0131z nedeniyle, meslekta\u015f ili\u015fkilerinin \u00f6tesindeki derin sayg\u0131 ve sevgiye dayanan dostluk ba\u011flar\u0131n\u0131n sonucu olarak, Mustafa Ayaz\u2019\u0131n sanat\u00e7\u0131 ve e\u011fitimci ki\u015fili\u011fini az-\u00e7ok tan\u0131yabilmi\u015f olmam do\u011fald\u0131r. Bir sanat\u00e7\u0131n\u0131n do\u011fas\u0131n\u0131 ve sanat\u0131n\u0131 en iyi bir bi\u00e7imde ancak yine ba\u015fka bir sanat\u00e7\u0131n\u0131n tan\u0131yabilece\u011fine ve anlayabilece\u011fine inan\u0131yorum. \u00c7\u00fcnk\u00fc sanat ya da herhangi bir alanla ilgili bilgi sahibi olmakla anlamak ayn\u0131 anlama gelmemektedir. Yani bir konuyla ilgili olarak, bilinen haz\u0131r bilgileri toplamakla o bilgileri ke\u015ffetmek ayn\u0131 \u015fey de\u011fildir. Bir konudaki bulunmu\u015f bilgileri derleyip toplayarak bilgi sahibi olunabilinir ama duygular ya\u015fanmadan bilinemez. \u00d6rne\u011fin, do\u011fum olay\u0131n\u0131 hi\u00e7bir ana bir do\u011fum uzman\u0131 kadar bilemez ama do\u011furmam\u0131\u015f hi\u00e7 kimse de anal\u0131k duygusunu bilemez. Bu nedenle sanat\u00e7\u0131n\u0131n yaratma s\u00fcrecindeki duygular\u0131n\u0131 ve sorunlar\u0131n\u0131 da ancak bir ba\u015fka sanat\u00e7\u0131 bilebilir.
Hani, damdan d\u00fc\u015fen Nasrettin Hoca\u2019ya yard\u0131m etmeye \u00e7al\u0131\u015fanlara: \u201cBana damdan d\u00fc\u015fen birini \u00e7a\u011f\u0131r\u0131n!\u201d \u00f6rne\u011fi; belki de bu d\u00fc\u015f\u00fcnceyle, kendisi hakk\u0131ndaki bu kitab\u0131 yazmam\u0131 istemi\u015f olabilir Ayaz. Ne denli hakl\u0131 \u00e7\u0131km\u0131\u015ft\u0131r bilemiyorum ama umar\u0131m ikimiz de yan\u0131lmam\u0131\u015f\u0131zd\u0131r. Sonu\u00e7 ne olursa olsun bu i\u015fi severek yapt\u0131\u011f\u0131m\u0131 s\u00f6ylemeliyim. Ve akl\u0131ma bir \u015fey tak\u0131l\u0131yor:
T\u00fcrk e\u011fitim tarihinde yaln\u0131zca on y\u0131ll\u0131k \u00f6mr\u00fc olan ve fakir k\u00f6y \u00e7ocuklar\u0131n\u0131n okuyabilme olana\u011f\u0131 bulabildikleri k\u00f6y enstit\u00fcleri olmasayd\u0131, ailenin be\u015f \u00e7ocu\u011fu i\u00e7erisinden okutabildi\u011fi tek \u00e7ocuk olan Ayaz gibi bir yetenek acaba ne olabilirdi? \u00c7ok iyi bir marangoz olabilece\u011fi olas\u0131l\u0131\u011f\u0131 belki \u00e7ok y\u00fcksekti ama acaba sanat\u00e7\u0131 olarak ortaya \u00e7\u0131kabilir miydi? Bilemiyorum!\u00a0

KABATA\u015eK\u00d6Y\u00dc\u2019NDEN PULUR K\u00d6Y ENST\u0130T\u00dcS\u00dc\u2019NE\u2026

1938 y\u0131l\u0131n\u0131n A\u011fustos’unda, Trabzon-\u00c7aykara \u0130l\u00e7esi Kabata\u015f K\u00f6y\u00fc’nde, ailesinin d\u00f6rd\u00fcnc\u00fc \u00e7ocu\u011fu olarak d\u00fcnyaya gelen Mustafa Ayaz’\u0131n \u00e7ocuklu\u011fu, Avrupa’y\u0131 kan ve ate\u015fe bo\u011fan II. D\u00fcnya Sava\u015f\u0131’n\u0131n getirdi\u011fi ekonomik bunal\u0131mlar\u0131n i\u00e7erisinde ge\u00e7er. Sava\u015f y\u0131llar\u0131n\u0131n yokluklar\u0131 i\u00e7erisindeki bak\u0131ms\u0131zl\u0131k ve hastal\u0131klarla dolu \u00e7ocukluk ya\u015fam\u0131, nerdeyse, o y\u0131llardaki her k\u0131rsal kesim \u00e7ocu\u011fununki gibi onun da yazg\u0131s\u0131 olmu\u015ftur. Doktor y\u00fcz\u00fc g\u00f6rmeden, g\u00fcnlerce s\u00fcren a\u011f\u0131r ve ate\u015fli bir hastal\u0131ktan sonra yeniden dirilir. Dokuzuncu g\u00fcn g\u00f6zlerini a\u00e7t\u0131\u011f\u0131nda, hastal\u0131k boyunca yiyemediklerinin ac\u0131s\u0131n\u0131 \u00e7\u0131kar\u0131rcas\u0131na, bir g\u00fcnde on iki kez yemek yedi\u011fini annesi s\u00f6yl\u00fcyor sonradan. Yokluklara ve hastal\u0131klara direnerek on ya\u015f\u0131na varan \u00e7ocuk M. Ayaz hen\u00fcz okulla tan\u0131\u015fmam\u0131\u015ft\u0131r. Bin bir yokluk ve zorluklar i\u00e7inde ya\u015famlar\u0131n\u0131 s\u00fcrd\u00fcren \u00e7ileke\u015f k\u00f6yl\u00fc \u00e7ocuklar\u0131 gibi o da erkenden kalk\u0131p tarlada-yabanda i\u015flere el atmak, ko\u015fu\u015fturmak; gerekti\u011finde, k\u00f6y\u00fcn uza\u011f\u0131ndaki kalif denilen \u00e7ardaklarda tek ba\u015f\u0131na kal\u0131p, k\u0131zd\u0131rma ad\u0131 verilen yass\u0131 ta\u015f\u0131 ate\u015fte k\u0131zd\u0131rarak yiyece\u011fi ekme\u011fini bile kendisi pi\u015firmek zorundad\u0131r. K\u0131rsal ya\u015fam ko\u015fullar\u0131n\u0131n s\u0131radan olaylar\u0131 gibi g\u00f6r\u00fclen ve \u00e7ocuklu\u011fun \u00e7etin an\u0131lar\u0131 olarak an\u0131msanan bu t\u00fcr ya\u015fanm\u0131\u015fl\u0131klar\u0131n insan ya\u015fam\u0131n\u0131n anlam\u0131n\u0131 zenginle\u015ftiren \u00f6nemli deneyimler olarak, bireyin gelecekteki d\u00fc\u015f\u00fcnsel d\u00fcnyas\u0131n\u0131 etkileyen ve ki\u015fili\u011fini bi\u00e7imleyen olaylard\u0131r. \u201cSanat\u00e7\u0131 kolayl\u0131klardan ka\u00e7\u0131nmal\u0131d\u0131r\u201d s\u00f6z\u00fcn\u00fc s\u00f6yleten ve onun ya\u015fam kar\u015f\u0131s\u0131ndaki tavr\u0131n\u0131 belirleyen; ya\u015fam\u0131 kendi kendisine zorla\u015ft\u0131ran yan\u0131, i\u015fte k\u00fc\u00e7\u00fck ya\u015flardayken zorluklar kar\u015f\u0131s\u0131nda y\u00fcklenmek zorunda kald\u0131\u011f\u0131 sorumluluklar\u0131n kazand\u0131rd\u0131\u011f\u0131 bir \u00f6zellik olsa gerek. Be\u015f \u00e7ocuktan, ailenin okutabildi\u011fi biricik \u00e7ocu\u011fu olmas\u0131na kar\u015f\u0131n, bu ayr\u0131cal\u0131\u011f\u0131n onu \u015f\u0131martmas\u0131 \u015f\u00f6yle dursun; eve destek olabilmek amac\u0131yla, k\u00fc\u00e7\u00fck ya\u015ftan beri y\u00fcklendi\u011fi i\u015f ve g\u00f6rev sorumlulu\u011fu, \u00e7ocuklu\u011funu bile do\u011fru d\u00fcr\u00fcst ya\u015fayamamas\u0131na, erken olgunla\u015fmas\u0131na neden olmu\u015f ve ona \u00e7ekingen bir karakter \u00f6zelli\u011fi kazand\u0131rm\u0131\u015ft\u0131r.
K\u00f6y\u00fcn biraz d\u0131\u015f\u0131ndaki baba evi, k\u00f6ye bir saat uzakl\u0131ktaki il\u00e7e ilkokuluna yaya gidip gelen \u00e7ocuklar\u0131n, \u0131s\u0131nmak ve dinlenmek i\u00e7in s\u0131\u011f\u0131nma yeri olur zaman zaman. Buruk bir \u00f6zlemle bakt\u0131\u011f\u0131 bu okullu arkada\u015flar\u0131ndan ald\u0131\u011f\u0131, ucu yamru-yumru a\u00e7\u0131lm\u0131\u015f yar\u0131m bir kur\u015funkalemle yaz\u0131p \u00e7izme \u00f6zlemini gidermeye \u00e7al\u0131\u015fan Mustafa Ayaz ancak on ya\u015f\u0131nda okula gitme olana\u011f\u0131n\u0131 bulur. Kendisinden \u00f6nceki karde\u015fleri; ablas\u0131 ve iki a\u011fabeyi de okuldan nasiplerini alamam\u0131\u015flard\u0131r. \u201cAileden hi\u00e7 olmazsa birimiz okusun\u201d diyerek a\u011fabeyi yazd\u0131r\u0131r onu okula. 1953’te ilkokulu bitiren Ayaz, o y\u0131llardaki k\u00f6yl\u00fc \u00e7ocuklar\u0131n\u0131n b\u00fcy\u00fck \u00e7o\u011funlu\u011fu gibi, ancak yat\u0131l\u0131 bir okula girebilirse okumay\u0131 s\u00fcrd\u00fcrebilecektir.\u00a0

\u00c7APA RES\u0130M SEM\u0130NER\u0130\u2019NDEK\u0130 \u00d6\u011eRENC\u0130L\u0130K YILLARI

\u00c7apa Resim Semineri\u2019nde \u00f6\u011frencilerini g\u00fcd\u00fcleyerek yaratma heyecan\u0131n\u0131 s\u00fcrekli diri tutabilen \u0130lhami Demirci ve Malik Aksel gibi sanat e\u011fitimcilerinin \u00f6\u011frencisi olma olana\u011f\u0131n\u0131 yakalayan Ayaz tam da istedi\u011fi ortam\u0131 bulmu\u015ftur.<\/p>

Kurulu\u015f ama\u00e7lar\u0131n\u0131n gere\u011fi olarak kentten uzakta olan ve sonralar\u0131 yaln\u0131zca erkek \u00f6\u011frencilerin okudu\u011fu k\u00f6y enstit\u00fcs\u00fcnden \u00c4\u00b0stanbul gibi bir kentin \u00e7ok de\u011fi\u015fik toplumsal ya\u015fam ortam\u0131na gelen Ayaz, ergenlik \u00e7a\u011f\u0131ndaki k\u0131zl\u0131 erkekli \u00f6\u011frencilerin co\u015fku dolu ya\u015fant\u0131s\u0131na uzak durma duygusuyla sanat \u00f6\u011frenme tutkusunun birbirine kar\u0131\u015ft\u0131\u011f\u0131 bu k\u00fclt\u00fcr ikliminde hummal\u0131 bir \u00e7al\u0131\u015fmaya girer. \u00d6rne\u011fin; arkada\u015flar\u0131 bo\u015f zamanlar\u0131n\u0131 ara s\u0131ra da olsa dans edip e\u011flenmeye ay\u0131r\u0131rken, o onlara kat\u0131lamaman\u0131n bo\u015flu\u011funu at\u00f6lyede resim yaparak doldurmaya \u00e7al\u0131\u015fmaktad\u0131r. Arkada\u015flar\u0131 aras\u0131nda sevilen ve ayn\u0131 zamanda sevgi dolu bir \u00f6\u011frenci olmas\u0131na kar\u015f\u0131n o insanlara duydu\u011fu sevgi oran\u0131nda yaln\u0131z olmay\u0131 ye\u011flemi\u015ftir. Van Gogh\u2019un; \u201c\u0130nsanlardan ka\u00e7mam\u0131n nedeni sevgisizlik de\u011fil, insanlar\u0131n k\u00fc\u00e7\u00fckl\u00fcklerindendir.\u201d gibisinden de de\u011fildir onun yaln\u0131zl\u0131\u011f\u0131 se\u00e7mesi; aksine sevgi doludur. Ancak onun yaln\u0131zl\u0131\u011f\u0131n\u0131n, \u201cs\u0131k\u0131nt\u0131ya ayr\u0131lm\u0131\u015f zaman de\u011fil, yarat\u0131c\u0131l\u0131\u011fa ayr\u0131lm\u0131\u015f bir zaman\u201d oldu\u011funu \u015fimdi daha iyi anl\u0131yoruz. \u00c7\u00fcnk\u00fc toplumsal ya\u015fam\u0131n e\u011flenceli yan\u0131n\u0131n \u00e7ekicili\u011fine kap\u0131lanlar\u0131n yarat\u0131c\u0131l\u0131\u011fa zaman ay\u0131rma olana\u011f\u0131 bulamayacaklar\u0131 bir ger\u00e7ektir. O, yaratmak i\u00e7in yaln\u0131zl\u0131\u011f\u0131 bilin\u00e7li olarak se\u00e7ti\u011finin ipu\u00e7lar\u0131n\u0131 zaten daha \u00f6nceden veriyor bize.\u00a0

GAZ\u0130 E\u011e\u0130T\u0130M\u00a0ENST\u0130T\u00dcS\u00dcNDEK\u0130 \u00d6\u011eRENC\u0130L\u0130K YILLARI

Bir y\u0131ll\u0131k ilkokul \u00f6\u011fretmenli\u011fi deneyiminden sonra, 1960\u2019da, bu kez girdi\u011fi s\u0131nav\u0131 kazanarak Gazi E\u011fitim Enstit\u00fcs\u00fc Resim-\u0130\u015f B\u00f6l\u00fcm\u00fc \u00f6\u011frencisi olan Ayaz, Avrupa\u2019dan \u00fclkesine yeni d\u00f6nm\u00fc\u015f gen\u00e7 bir hocan\u0131n tezg\u00e2h\u0131nda sanatsal gelece\u011fini \u00f6rmeye, bi\u00e7imlemeye ba\u015flar. Benim de \u00f6\u011frencisi olma ayr\u0131cal\u0131\u011f\u0131na ve mutlulu\u011funa erdi\u011fim bu e\u011fitimci Prof. Dr. Adnan Turan\u00ee\u2019dir.\u00a0

\u00c7apa E\u011fitim Seminer\u2019inde oldu\u011fu gibi Gazi E\u011fitim Enstit\u00fcs\u00fc Resim B\u00f6l\u00fcm\u00fcndeki \u00f6\u011frenimi boyunca da hem arkada\u015flar\u0131n\u0131 imrendirecek bir verimlilikle \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcren \u00e7al\u0131\u015fkan bir \u00f6\u011frenci olarak, hem de ilgin\u00e7 oldu\u011fu kadar sayg\u0131n ki\u015fili\u011fiyle de, arkadan gelenlere \u00f6rnek olacak bi\u00e7imde, dikkatleri \u00e7ekmekteydi Ayaz. B\u0131rak\u0131n sanat\u00e7\u0131lar hakk\u0131nda kitap ve benzeri yay\u0131nlar\u0131, devlet sergileri i\u00e7in bile katalog bas\u0131lamad\u0131\u011f\u0131 o y\u0131llarda, bir yaz\u0131n dergisi olan Varl\u0131k\u2019ta, \u00f6rne\u011fin, Ayaz gibi gen\u00e7 sanat\u00e7\u0131lar\u0131n desenlerinin bas\u0131lmas\u0131 sanat \u00f6\u011frencileri i\u00e7in \u00f6zendirici etkendi. Sanat\u00e7\u0131 tipine \u00f6rnek bir \u00f6\u011frenci olarak Ayaz, yaln\u0131z desenleriyle de\u011fil nitelikli bir boya ve f\u0131r\u00e7a be\u011fenisine sahip soyutlamac\u0131 anlay\u0131\u015ftaki resimleriyle de ilgi oda\u011f\u0131 olabilmi\u015fti. Basit bi\u00e7im \u00e7arp\u0131tmalar\u0131n\u0131n soyutlama; geometrik bi\u00e7imlerle d\u00fczenlenen beylik kompozisyonlar\u0131n ise \u201cmodern resim\u201d san\u0131ld\u0131\u011f\u0131 o y\u0131llarda; \u00f6\u011frenci d\u00fczeyinin \u00fcst\u00fcndeki i\u015fleriyle kat\u0131ld\u0131\u011f\u0131 Devlet Resim ve Heykel Sergilerinde de yaln\u0131z hocalar\u0131n\u0131n de\u011fil ayn\u0131 zamanda sanat \u00e7evresinin de be\u011fenisini hak eden Ayaz\u2019\u0131n kendisinden s\u00f6z ettiren sanat\u00e7\u0131 kimli\u011fine sahip oldu\u011funu s\u00f6ylemek abart\u0131 say\u0131lmaz.\u00a0

AYAZ\u2019IN E\u011e\u0130T\u0130MC\u0130 K\u0130\u015e\u0130L\u0130\u011e\u0130

Yaln\u0131z sanat\u00e7\u0131 olarak de\u011fil ayn\u0131 zamanda iyi bir sanat e\u011fitimcisi olan Ayaz, e\u011fitimci ki\u015fili\u011fini de sanat\u00e7\u0131 kimli\u011fine bor\u00e7ludur. Bir sanat e\u011fitimcisinin \u00f6\u011frencilerini etkileyebilmesi b\u00fcy\u00fck \u00f6l\u00e7\u00fcde onun sanatsal yarat\u0131c\u0131l\u0131k y\u00f6n\u00fcne ba\u011fl\u0131d\u0131r.\u00a0

Sanat\u00e7\u0131 ki\u015fili\u011fiyle \u00fclke sanat\u0131nda \u00f6nemli bir yeri olan Ayaz, yeti\u015ftirdi\u011fi bir\u00e7ok sanat\u00e7\u0131 ve sanat e\u011fitimcisi ile de t\u00fcr\u00fc t\u00fckenmekte olan \u00fcst\u00fcn nitelikli e\u011fitimci olarak bilinen ve takdirle an\u0131lacak bir de\u011ferdir ku\u015fkusuz. Asistanl\u0131\u011f\u0131ndan beri uzun y\u0131llar \u00e7al\u0131\u015ft\u0131\u011f\u0131 Gazi E\u011fitim Fak\u00fcltesinde olsun, Hacettepe \u00dcniversitesi G\u00fczel sanatlar fak\u00fcltesinde olsun, bir e\u011fitimci olarak Ayaz, gerek meslekta\u015flar\u0131 gerekse \u00f6\u011frencileri aras\u0131nda her zaman sayg\u0131n bir yer edinmi\u015f ve sanat\u00e7\u0131lar yeti\u015ftirmi\u015ftir.\u00a0

AYAZ\u2019IN SANAT\u00c7I K\u0130\u015e\u0130L\u0130\u011e\u0130

\u201cHer g\u00fcn i\u00e7in 24 saat de\u011fil, 240 saat gerek. \u0130\u015fte ancak o zaman d\u00fc\u015f\u00fcncelerimi, arzular\u0131m\u0131 ger\u00e7ekle\u015ftirme olana\u011f\u0131 bulabilece\u011fim\u201d diyen Ayaz i\u00e7in resim yapmak, kendisiyle ve ya\u015fayamad\u0131klar\u0131yla ba\u015f edebilmek; bast\u0131rd\u0131\u011f\u0131 ge\u00e7mi\u015fi kazanabilmek, ya\u015fayamad\u0131klar\u0131n\u0131 geri alabilmek ya da ac\u0131s\u0131n\u0131 \u00e7\u0131karabilmek gibi bir \u015feydir. Diyor ki: \u201cBen suskun bir insan\u0131m ama i\u00e7imden ba\u011f\u0131rmak gelir hep.\u201d Suskunlu\u011fu ba\u011f\u0131ramay\u0131\u015f\u0131ndand\u0131r. Ba\u011f\u0131rabilse resim yapma gere\u011fini de duymayabilirdi belki de. G\u00fcnl\u00fck ya\u015fam\u0131nda mutlulu\u011fun en al\u00e7ak g\u00f6n\u00fcll\u00fcs\u00fcyle yetinebilen, vars\u0131ll\u0131\u011f\u0131n ve yoksullu\u011fun hi\u00e7bir d\u00fczeyine ald\u0131r\u0131\u015f etmez g\u00f6z\u00fcken bu insan sanat\u0131n b\u00fcy\u00fcs\u00fcnde kendini yitirmemi\u015f olsayd\u0131 belki de \u00e7\u0131ld\u0131rabilirdi. Bir volkan gibi uyuyan i\u00e7 d\u00fcnyas\u0131n\u0131n huzursuzlu\u011fundan ancak resimleriyle ehlile\u015ftirerek yaratt\u0131\u011f\u0131 co\u015fku d\u00fcnyas\u0131na s\u0131\u011f\u0131narak kurtulabilmektedir. \u0130\u00e7 d\u00fcnyas\u0131ndan \u00e7\u0131k\u0131p d\u0131\u015f d\u00fcnyaya d\u00f6nd\u00fc\u011f\u00fc zaman s\u0131k\u0131l\u0131p bunal\u0131r.\u00a0

Hen\u00fcz Gazi E\u011fitim Enstit\u00fcs\u00fc \u00f6\u011frencili\u011fi y\u0131llar\u0131nda bile el yaz\u0131s\u0131 \u00e7abuklu\u011funda \u00e7izebilen bir desen ustas\u0131 olarak bilinirdi Ayaz. Onun desenleri boya resim kompozisyonlar\u0131 i\u00e7in haz\u0131rlanan taslak niteli\u011findeki \u00e7izimler ya da resme yeni ba\u015flayanlar\u0131n e\u011fitimi i\u00e7in, sanat\u0131n ABC\u2019si say\u0131lan al\u0131\u015ft\u0131rma anlam\u0131ndaki do\u011fa ve nesne et\u00fctleri de\u011fil, \u00fcst d\u00fczeyde sanatsal be\u011feninin \u00f6rnekleridir.\u00a0

Eski sanat\u00e7\u0131lar, deseni, yapacaklar\u0131 kompozisyonlar\u0131na taslak haz\u0131rlama ama\u00e7l\u0131 bir teknik olarak g\u00f6rm\u00fc\u015flerdir. B\u00f6ylece boya resme ba\u011f\u0131ml\u0131 ikinci derecede plastik anlat\u0131m arac\u0131 olarak kalm\u0131\u015ft\u0131r. B\u00f6yle bir anlay\u0131\u015f\u0131n gere\u011fi olarak da, eski ustalar\u0131n ba\u011f\u0131ms\u0131z bir desen sergisi a\u00e7t\u0131klar\u0131 pek al\u0131\u015f\u0131lm\u0131\u015f olaylardan de\u011fildir. “Desen resmin \u00e7at\u0131s\u0131, iskeletidir.” hatta anas\u0131d\u0131r denmesine ve bu g\u00f6r\u00fc\u015f\u00fcn her zaman sayg\u0131nl\u0131\u011f\u0131n\u0131 korumas\u0131na kar\u015f\u0131n, boya resmin boyunduru\u011fundan kurtulamam\u0131\u015f, onun tamamlay\u0131c\u0131s\u0131 ya da hizmet\u00e7isi olarak kalm\u0131\u015f; \u00e7ocu\u011funa kar\u015f\u0131 “r\u00fc\u015ft\u00fcn\u00fc” \u00e7a\u011flar boyunca kan\u0131tlayamam\u0131\u015ft\u0131r. Ta ki, \u201csanatsal yaratmada soylu ya da soysuz gere\u00e7 yoktur\u201d (Picasso) d\u00fc\u015f\u00fcncesinin kavranmaya ba\u015fland\u0131\u011f\u0131 y\u00fczy\u0131l\u0131m\u0131z\u0131n ba\u015flar\u0131na dek\u2026<\/p>

Sanat\u00e7\u0131lar\u0131n b\u00fcy\u00fck bir \u00e7o\u011funlu\u011funun genellikle tablo resim yap\u0131tlar\u0131yla ortaya \u00e7\u0131kmalar\u0131n\u0131, desenin zamana ve d\u0131\u015f etkenlere daha diren\u00e7siz olu\u015funa ya da sanatsal s\u0131\u011fl\u0131\u011f\u0131na ba\u011flaman\u0131n olana\u011f\u0131 yoktur. Tersine sanat\u00e7\u0131n\u0131n do\u011fay\u0131 alg\u0131lama ve \u00e7\u00f6z\u00fcmleme g\u00fcc\u00fcn\u00fc en yal\u0131n bi\u00e7imde yans\u0131tan bir teknik olmas\u0131 a\u00e7\u0131s\u0131ndan ki\u015fili\u011fi \u00e7abuk ele verici bir \u00f6zelli\u011fe sahiptir.
“Ressam g\u00f6r\u00fcnmek isteyenler durmadan boyas\u0131n; ger\u00e7ekten ressam olmak isteyenlerse durmadan \u00e7izsinler.” diyen desen ustas\u0131 Ayaz’dan, gen\u00e7 sanat \u00f6\u011frencilerinin \u00f6\u011frenecekleri \u00e7ok \u015fey var.T\u00fcrk resim sanat\u0131nda yads\u0131namayacak bir yer tutmu\u015f olan Mustafa Ayaz’\u0131n desenlerinden olu\u015fan bir kitab\u0131n daha \u00f6nce yay\u0131mlanm\u0131\u015f olmas\u0131, yeti\u015fmekte olan sanat\u00e7\u0131 ku\u015faklara \u00f6rnek olmas\u0131 a\u00e7\u0131s\u0131ndan \u00f6nemlidir.\u00a0

1973 \u2013 1980 D\u00d6NEM\u0130

\u00dclkemizde sanat\u00e7\u0131lar ad\u0131na ya da an\u0131s\u0131na ki\u015fisel olarak veya \u00e7e\u015fitli kurumlar, kurulu\u015flar taraf\u0131ndan mek\u00e2nlar ve m\u00fcze-evler d\u00fczenlenmekle birlikte; hi\u00e7bir destek ve yard\u0131m almadan, salt m\u00fcze ve sanat merkezi olarak tasarlanm\u0131\u015f olan bu yap\u0131yla bir ilki de ger\u00e7ekle\u015ftirmi\u015f oluyor Ayaz. B\u00f6ylece de yaln\u0131z bir sanat\u00e7\u0131 olarak yap\u0131tlar\u0131yla de\u011fil, ayn\u0131 zamanda kamunun yararlanabilece\u011fi bir k\u00fclt\u00fcr hizmetinden dolay\u0131 da ad\u0131n\u0131 tarihe daha \u015fimdiden yazd\u0131rm\u0131\u015ft\u0131r.\u00a0

80\u2019Li YILLAR VE SONRASI

\u00dclkemizdeki bir\u00e7ok sanat\u00e7\u0131 gibi Ayaz\u2019\u0131n da bask\u0131 resimden serami\u011fe dek sanat\u0131n \u00f6teki dallar\u0131yla ilgilendi\u011fi bilinmektedir. Ama daha \u00e7ok heykele ilgi duymu\u015f ve de\u011fme heykelt\u0131ra\u015flara ta\u015f \u00e7\u0131kartacak ba\u015far\u0131l\u0131 heykeller yapm\u0131\u015ft\u0131r. \u00d6rne\u011fin, kendi ad\u0131na yapt\u0131rd\u0131\u011f\u0131 Mustafa Ayaz M\u00fczesi ve Plastik Sanatlar Merkezi Vakf\u0131 \u00f6n\u00fcndeki heykeller kendisi taraf\u0131ndan \u00f6zel olarak o yap\u0131 i\u00e7in tasarlanm\u0131\u015ft\u0131r.\u00a0

SONS\u00d6Z

Ayaz\u2019\u0131n, gerek her y\u00f6n\u00fcyle ilgin\u00e7 ki\u015fili\u011fini gerekse sanat\u0131n\u0131 ayr\u0131nt\u0131lar\u0131yla anlatmak ku\u015fkusuz bu k\u0131sa yaz\u0131n\u0131n kapsam\u0131n\u0131n \u00e7ok d\u0131\u015f\u0131ndad\u0131r.<\/p>

\u0130nsanlardan bu denli uzak durmas\u0131na kar\u015f\u0131n sanat\u0131n\u0131 topluma bu denli sevdiren sanat\u00e7\u0131 \u00e7ok az bulunur san\u0131r\u0131m. Ancak onda, toplumundan kopuk moda ak\u0131mlar\u0131n pe\u015finde ko\u015fan, ya da \u2018bohem\u2019 sanat\u00e7\u0131 tipini de g\u00f6remezsiniz. S\u00f6ylenenlere hi\u00e7 ald\u0131r\u0131\u015f etmeyen, k\u00f6k\u00fc toprakta \u00e7a\u011fda\u015f bir halk ozan\u0131 gibi, o da toplumunun uzant\u0131s\u0131 olarak duyumsad\u0131klar\u0131n\u0131 resim sanat\u0131n\u0131n diliyle yans\u0131tan g\u00f6rselli\u011fin ozan\u0131d\u0131r.<\/p>

\u201cMustafa Ayaz\u2019\u0131n sanat\u0131, soyuta en yakla\u015ft\u0131\u011f\u0131 d\u00f6nemlerde bile izleyici ile ilk anda do\u011fal bir yak\u0131nl\u0131k kuran ve a\u015final\u0131k duyuran nitelikte. Mustafa Ayaz\u2019\u0131n resimlerinin izleyici ile kurdu\u011fu bu rahat ili\u015fki, ve kendilerine \u00f6zg\u00fc bir evreni yaratmaktaki do\u011fall\u0131klar\u0131 \u00e7o\u011fumuza Ayaz\u2019\u0131n T\u00fcrk resmi i\u00e7indeki farkl\u0131l\u0131\u011f\u0131n\u0131 unutturabilir. Ayaz\u2019\u0131n sanat\u0131n\u0131n bile\u015fenlerinde Yirminci Y\u00fczy\u0131l sanat\u0131 ve T\u00fcrk k\u00fclt\u00fcr\u00fcn\u00fcn bir\u00e7ok temel motifini ke\u015ffedebiliriz. Ancak sonu\u00e7ta ortaya \u00e7\u0131kan sentez ba\u015fl\u0131 ba\u015f\u0131na bir Ayaz bi\u00e7emidir.\u201d( Jale N. Erzen )\u00a0
Nas\u0131l ki, insan konu\u015furken, s\u00f6zc\u00fckler d\u00fc\u015f\u00fcncenin kal\u0131plar\u0131 ve kavramlar\u0131n simgeleri olarak a\u011f\u0131zdan d\u00f6k\u00fcl\u00fcverirlerse, Ayaz’\u0131n desen \u00e7izi\u015fi de, kendi psi\u015fik evreninin resimsel s\u00f6zc\u00fckleri olarak d\u00f6k\u00fcl\u00fc\u015f\u00fc gibidir. O \u00e7al\u0131\u015f\u0131rken, bazen \u00e7ocuk gibi kab\u0131na s\u0131\u011fmayan bir co\u015fku i\u00e7inde, bazen \u00e7al\u0131yla \u00e7arp\u0131lm\u0131\u015f\u00e7as\u0131na \u015fa\u015fk\u0131n, bazen kendi kendini yercesine huzursuz, surat\u0131 allak bullakt\u0131r. \u00c7izdik\u00e7e \u00e7\u0131lg\u0131nla\u015fan ve insana \u00fcrk\u00fcnt\u00fc veren ruhsal bir gerilimi onunla birlikte ya\u015far insan. \u00d6yle bir gerilim ki, ancak “resim cinneti” olarak nitelenebilir. Zaman\u0131 bor\u00e7 alm\u0131\u015f\u00e7as\u0131na durmadan \u00e7al\u0131\u015fan bu adam acaba resim yapmasa, ne yapard\u0131? diye d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm \u00e7ok olmu\u015ftur.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

\n\t\t\t\t\n\t\t\t\t\t
T\u00fcrkiye'de Bir \u0130lk: Ressam Ayaz Balgat'ta M\u00fcze A\u00e7\u0131yor \/Sema \u00d6ztoprak <\/div><\/span>\n\t\t\t\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Kelimelerin ve renklerin t\u00fckenmedi\u011fi yerde, f\u0131r\u00e7as\u0131yla 49 y\u0131ll\u0131k sanat ser\u00fcvenini geride b\u0131rakm\u0131\u015f bir e\u011fitimci ve ressam Mustafa Ayaz Hoca. Ankara Balgat semtinde in\u015fas\u0131 devam eden Mustafa Ayaz M\u00fczesi ve K\u00fclt\u00fcr Merkezi\u2019nin sahibi Ayaz Hoca\u2019n\u0131n en b\u00fcy\u00fck d\u00fc\u015f\u00fc, yak\u0131n bir gelecekte ger\u00e7ekle\u015fmek \u00fczere ve Ankaral\u0131 sanatseverler, onun ismiyle an\u0131lan bir sanat \u00e7at\u0131s\u0131 alt\u0131nda olmaktan san\u0131r\u0131m b\u00fcy\u00fck haz duyacaklar. M\u00fcze K\u00fclt\u00fcr Merkezi in\u015faat\u0131n\u0131n Mimarl\u0131\u011f\u0131n\u0131 Kadri Ataba\u015f ile Ufuk Ertem, M\u00fcteahhitli\u011fini ise damad\u0131 ve ayn\u0131 zamanda ye\u011feni olan Sinan Ayaz \u00fcstlenmi\u015f.<\/span>
Mustafa Ayaz Hoca ile Ancyra okurlar\u0131 i\u00e7in \u00f6zel bir g\u00f6r\u00fc\u015fme ger\u00e7ekle\u015ftirdik M\u00fczecilik hakk\u0131nda konu\u015fal\u0131m hocam, neden b\u00f6yle bir i\u015fe giri\u015ftiniz?<\/span>

M.A. A\u015fa\u011f\u0131 yukar\u0131 20 senedir kafamda bu i\u015f var. Maddi olarak her \u015feye ula\u015ft\u0131m. \u00c7ocuklu\u011fumda \u00e7ok s\u0131k\u0131nt\u0131lar \u00e7ektim. Zaman i\u00e7erisinde her \u015feye kavu\u015ftum bu art\u0131 geliri bir Mustafa Ayaz M\u00fczesi ve K\u00fclt\u00fcr Merkezi yapmak i\u00e7in ay\u0131rd\u0131m, tasarlad\u0131m ve 3 y\u0131l \u00f6nce de bunu ger\u00e7ekle\u015ftirdim. Onun i\u00e7in \u00e7ok mutluyum insano\u011flu hep hedef koymal\u0131 \u00f6n\u00fcne. Hedefi olmayan insan\u0131n bir \u015fey yarataca\u011f\u0131n\u0131 sanm\u0131yorum. Bu i\u015f bitti\u011fi zaman yine \u00f6n\u00fcme ba\u015fka bir hedef koyaca\u011f\u0131m. Onu bilmiyorum \u015fimdilik. Ama mutlaka \u00f6n\u00fcmde bir hedef olmas\u0131 gerekiyor. Belki daha b\u00fcy\u00fck an\u0131tsal resimler yapma hedefi olacak. Belki heykel, seramik gibi di\u011fer dallarda eser verme hedefi olacak. Ama \u015fu anda \u00f6n\u00fcmdeki hedef bunu bitirmek.\u00a0<\/span>

Sema \u00d6ztoprak\u2019\u0131n Haberi\u00a0<\/span>

SANAT\u00c7I KEND\u0130NE SAH\u0130P \u00c7IKMALI\u00a0<\/span>

Ki\u015fisel m\u00fczecilik kavram\u0131 \u00fczerinde dural\u0131m isterim. \u00d6rne\u011fin \u0130stanbul Modern, bu anlamda hayli bilinen bir mekan niteli\u011finde ve tan\u0131t\u0131m\u0131yla hep g\u00fcndemimizde yer ald\u0131. Ki\u015fisel m\u00fczecili\u011fe ilgi giderek art\u0131yor sanki, ne dersiniz?\u00a0<\/span>

M.A. \u0130stanbul Modern\u2019i g\u00f6rmedim maalesef. Olmas\u0131 g\u00fczel bir \u015fey. Yava\u015f yava\u015f bunlar \u00e7o\u011falacak. Mustafa Ayaz M\u00fczesi ve K\u00fclt\u00fcr Merkezi, amac\u0131na uygun projelendirilmi\u015f bir m\u00fcze ve T\u00fcrkiye\u2019de bir ilk olacak san\u0131yorum. Ankara\u2019da bir tek \u015eefik Bursal\u0131 M\u00fczesi bulunuyor ama bu kapsamda de\u011fil. Bildi\u011fim kadar\u0131yla \u0130stanbul\u2019da da yok. Hepsi de bina al\u0131narak restore edilmi\u015f yerler. Ama bizimki s\u0131f\u0131rdan bu ama\u00e7 i\u00e7in haz\u0131rlanarak hizmet verecek O bak\u0131mdan tek diyebilirim. Ge\u00e7enlerde Adnan Turan\u0131, o\u011flu Can ve Galerici Mehmet K\u0131yat Avrupa\u2019ya gittiler. D\u00f6nd\u00fcklerinde bana, devletin, Avusturya\u2019da 3. derecedeki sanat\u00e7\u0131lar\u0131na bile sahip \u00e7\u0131kt\u0131\u011f\u0131n\u0131 ve onlara m\u00fczelerden tutun da neler neler yapt\u0131rd\u0131klar\u0131n\u0131 anlatt\u0131lar. Cumhuriyet tarihinden bu tarafa m\u00fczecilik konusunda gere\u011fi kadar ilerleyemedik. Her \u015feyi devletten beklemememiz gerekiyor. \u00d6zel kurulu\u015flar, g\u00fcc\u00fc yeten ressamlar, \u00f6rne\u011fin bende oldu\u011fu gibi buna te\u015febb\u00fcs etmesi gerekir. Hep otel olmaz yani. Hep turizme yat\u0131r\u0131m yap\u0131lmaz. Biraz da sanata yat\u0131r\u0131m gerekiyor. T\u00fcrkiye b\u00fcy\u00fck bir \u00fclke. Paras\u0131 var. Bu paran\u0131n \u00e7ok az bir k\u0131sm\u0131 da olsa bu g\u00fc\u00e7, sanatsal aktiviteye y\u00f6nlendirilmeli. Hep ticari ama\u00e7l\u0131 olmamal\u0131. \u0130nsanlar, sanat\u0131n her dal\u0131na hizmet etmeli. Y\u0131llar \u00f6nce \u015f\u00f6yle bir \u015fey yazm\u0131\u015f\u0131m defterime… Devlet sanat\u00e7\u0131ya sahip \u00e7\u0131km\u0131yorsa, sanat\u00e7\u0131 kendine sahip \u00e7\u0131kmal\u0131 Yani hep beklersek ki devlet bize sahip \u00e7\u0131ks\u0131n, devlet bize m\u00fcze yaps\u0131n, devlet bize galeri yaps\u0131n, ilelebet yapmaz ve biz de tembel tembel otururuz.\u00a0<\/span>

Biz kendimize sahip \u00e7\u0131kmal\u0131y\u0131z. \u00d6rne\u011fin ben, T\u00fcrkiye\u2019de benden daha \u00e7ok resim satanlar var. Ama bu paralar \u00e7ar\u00e7ur ediliyor sa\u011fa sola. Ben \u00e7ok hesapl\u0131 bunlar\u0131 biriktirdim.<\/span>

S.\u00d6. Sanatsal bir geri d\u00f6n\u00fc\u015f\u00fcm hesab\u0131 olmal\u0131 bunun?<\/span>

M.A. Kesinlikle… Dedi\u011fim gibi \u00e7ok b\u00fcy\u00fck paralar gerekmiyor bunu yapmak i\u00e7in. Yani bir sanat\u00e7\u0131 i\u00e7in, bir \u00f6\u011fretmen i\u00e7in, bir memur i\u00e7in, \u00e7ok b\u00fcy\u00fck para. Bir ressam\u0131n bug\u00fcn bir y\u0131lda de\u011fil de, 30-40 y\u0131l i\u00e7erisinde biriktirebilece\u011fi bir para belki de. E\u011fer paras\u0131n\u0131 iyi kullan\u0131rsa.<\/span>

S.\u00d6. Bina hakk\u0131nda teknik bilgiler verebilir misiniz, K\u00fclt\u00fcr Merkezi\u2019nde neler yer alacak?<\/span>

M.A. Buran\u0131n 4600 metre kare kullan\u0131m alan\u0131 var. \u00d6ndeki bo\u015flu\u011fu da sayarsan\u0131z 5000 metrekareye yak\u0131n. 3 kat benim resimlere ait olacak. En \u00fcstte kendime ait bir at\u00f6lye ve bir de \u00f6zel at\u00f6lye yer alacak. Oran\u0131n nas\u0131l kullan\u0131laca\u011f\u0131 hen\u00fcz belli de\u011fil. Giri\u015f kat\u0131nda bir Art kafe var. K\u00fct\u00fcphane, ar\u015fiv ve galeri, belki 2 galeri olabilir. Hediyelik e\u015fya sat\u0131\u015f k\u0131sm\u0131 ve onun alt\u0131nda 3 at\u00f6lyemiz var. Galeri de olabilir. Bunlar\u0131 ben, resim, grafik, heykel olarak d\u00fc\u015f\u00fcn\u00fcyorum. En alt katta 40-45 arabal\u0131k kapal\u0131 garaj alan\u0131m\u0131z bulunuyor. En \u00fcst katta Ankara manzaral\u0131 bir teras var. Toplam garajla birlikte 6 kat olarak planland\u0131 ve yap\u0131l\u0131yor. Benim amac\u0131m buraya gelir getirmek. Benden sonra buran\u0131n ya\u015famas\u0131. Ama nas\u0131l ya\u015famas\u0131; yine sanat \u00fcreterek ya\u015famas\u0131. M\u00fcze bitti\u011fi zaman, Mustafa Ayaz M\u00fczesi ve K\u00fclt\u00fcr Merkezi Sanat Vakf\u0131 olacak mutlaka. O kesin. Biz buray\u0131 ba\u015fka t\u00fcrl\u00fc de finanse edebilirdik ama o sanat d\u0131\u015f\u0131 olurdu. \u00d6rne\u011fin ba\u011f\u0131ms\u0131z alan\u0131 birka\u00e7 t\u00fcccara kiraya versek, buran\u0131n gideri haydi haydi \u00e7\u0131kard\u0131. B\u00f6yle olmas\u0131n\u0131 istemedim.<\/span>

S.\u00d6. Bunu bir emek borcu gibi d\u00fc\u015f\u00fcn\u00fcyorsunuz san\u0131r\u0131m…<\/span>

M.A. Buran\u0131n masraf\u0131n\u0131 sanat yoluyla \u00e7\u0131kar\u0131ls\u0131n istedim. Biz bu paralar\u0131n bir k\u0131sm\u0131n\u0131 halktan bir k\u0131sm\u0131n\u0131 yabanc\u0131lardan ald\u0131k. Onlar\u0131 yemedim, bitirmedim. Bu ama\u00e7 i\u00e7in o paralar\u0131 burada kullan\u0131yorum San\u0131yorum 2007\u2019de bitecek. Yard\u0131m almak istemiyorum. Parasal durumlar nedeniyle a\u00e7\u0131l\u0131\u015f\u0131m gecikebilir. \u0130stiyorum ki tamam\u0131yla bitireyim, i\u00e7ine de resimlerimi koyay\u0131m. Ondan sonra Vakfa d\u00f6n\u00fc\u015ft\u00fcreyim. Tamamen kendi katk\u0131lar\u0131mla olsun istiyorum. Buraya korkun\u00e7 paralar \u00f6neriyorlar. Ama diyorum ki ben gen\u00e7li\u011fimden beri tasarlad\u0131\u011f\u0131m bir r\u00fcyay\u0131 harcayamam.\u00a0<\/span>

S.\u00d6. Ayaz\u2019la s\u00f6yle\u015fimiz son bulurken, \u015fu notu d\u00fc\u015fmek isterim.Sonu\u00e7ta Ankara, K\u00fclt\u00fcr ve Turizm Bakanl\u0131\u011f\u0131\u2019n\u0131n ve Ankara B\u00fcy\u00fck\u015fehir Belediye\u2019sinin AKM projesinde yer alan k\u00fclt\u00fcr ve sanatla ilgisi olmayan tesislerin ve rant getirecek yap\u0131lar\u0131n yer alaca\u011f\u0131na ili\u015fkin iddialarla \u00e7alkalanadursun, sanata ve sanat\u00e7\u0131ya sayg\u0131y\u0131 bizlere bir kez daha an\u0131msatan Ressam Mustafa Ayaz\u2019a minnetle…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

\n\t\t\t\t\n\t\t\t\t\t
Mustafa Ayaz'la \u00dc\u00e7 Be\u015f Saat \/ Adnan Binyazar <\/div><\/span>\n\t\t\t\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

D\u00f6rt bin sayfay\u0131 bulan Binbir Gece Masallar\u0131’n\u0131n bir sayfas\u0131nda. “G\u00fczellik onu a\u015fkla arayana g\u00f6r\u00fcn\u00fcr” s\u00f6z\u00fcyle kar\u015f\u0131la\u015f\u0131nca, Mustafa Ayaz’\u0131n resim d\u00fcnyas\u0131na biraz daha yakla\u015ft\u0131\u011f\u0131m\u0131 anlad\u0131m. Resim, bir varl\u0131\u011f\u0131 yak\u0131ndan tan\u0131mlamad\u0131r. Ki\u015finin, ancak yak\u0131ndan tan\u0131mlad\u0131\u011f\u0131n\u0131 daha \u00e7ok sevdi\u011fi de bir ger\u00e7ektir. Y\u00fczlerce resmini, desenini, eskizini g\u00f6rd\u00fc\u011f\u00fcm Ayaz’\u0131n ‘g\u00fczelli\u011fi’, resim yoluyla var\u0131lacak s\u0131n\u0131rs\u0131z bir erotizm olarak alg\u0131lad\u0131\u011f\u0131n\u0131 g\u00f6z \u00f6n\u00fcnde bulundururken, ‘yak\u0131ndan tan\u0131mlama’ olgusunun onda sanatsal bir \u00e7aba oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum. Ayaz’\u0131n resimlerine, do\u011fada varolan\u0131n \u00f6tesinde bir ‘yarat\u0131” \u00f6\u011fesi olarak bakanlar, tuvaline yans\u0131yanlarda, erotik duygunun a\u015f\u0131nmaz g\u00fcd\u00fcs\u00fcn\u00fcn derin izleriyle kar\u015f\u0131la\u015facaklard\u0131r. Kim bilir hangi tutkuyla, Ayaz, nerdeyse hi\u00e7bir fig\u00fcr\u00fcn\u00fcn yan\u0131ndan ayr\u0131lmaz, ne yap\u0131p eder, bir ‘\u00e7izgi’ de olsa. kendini resmin h\u0131r yerine yerle\u015ftirir; resmin ana temas\u0131yla, ‘Ayaz’ adl\u0131 o g\u00fczellik bek\u00e7isi birbiriyle kayna\u015f\u0131r. Resmi derinli\u011fine yorumlayanlar, tuvalde, ok\u015fay\u0131c\u0131 ya da h\u0131rpalayan, tanr\u0131 sessizli\u011finde bir sevgilinin yans\u0131mas\u0131n\u0131 da g\u00f6rebilirler. Hemen her \u00e7al\u0131\u015fmas\u0131nda. g\u00f6r\u00fcn\u00fcm\u00fc silik kalsa da. ‘Ayaz deseni’ ile temay\u0131 belirleyen ‘resim’ aras\u0131nda; k\u0131skan\u00e7l\u0131ktan m\u0131, ac\u0131ma duygusundan m\u0131, g\u00fczelli\u011fi yitirme korkusundan m\u0131, her nedense. Tanr\u0131yla kul aras\u0131ndaki yaz\u0131s\u0131z bir akta (anla\u015fma) benzeyen ‘gizli’ bir akt yap\u0131lm\u0131\u015ft\u0131r. Bu, ressam\u0131n, yaratt\u0131\u011f\u0131n\u0131 elinden \u00e7\u0131karma korkusu, ya da yaratt\u0131\u011f\u0131n\u0131 sahiplenme tutkusu olarak yorumlanabilir. \u00d6yle ki, herkes resim satman\u0131n bin bir yolunu ararken. Ayaz, resminin elinden gidece\u011fi korkusuna kap\u0131l\u0131r ve “En g\u00fczel yap\u0131tlar\u0131m, yar\u0131\u015fmalara vermediklerimdir” der. Resim, do\u011fada varolan\u0131 yeniden var ederek bir ‘g\u00fczellik’ yaral\u0131m\u0131 oldu\u011funa g\u00f6re, yaratan\u0131n yaratt\u0131\u011f\u0131na sahip \u00e7\u0131kmas\u0131, sanatsal varolu\u015fun gere\u011fidir. Resim, bir a\u00e7\u0131dan da, yarat\u0131lm\u0131\u015f olanda, sanat\u00e7\u0131n\u0131n kendini yeniden var etme d\u00fc\u015flemidir. Sanat\u00e7\u0131, bu d\u00fc\u015flemi, yapt\u0131\u011f\u0131n\u0131n her noktas\u0131nda beyin ve g\u00f6z enerjisinin izini b\u0131rakarak ger\u00e7ekle\u015ftirir. Yap\u0131lan bir\u00e7ok \u00e7al\u0131\u015fman\u0131n ‘boyama’ a\u015famas\u0131nda kalmas\u0131, bu enerjinin eksikli\u011fine ba\u011flan\u0131r. Onun i\u00e7in resim yapan \u00e7ok, resim azd\u0131r.<\/span>

John Berger, “Sanat\u0131n kulland\u0131\u011f\u0131 her dil do\u011fa kar\u015f\u0131s\u0131nda duydu\u011fumuz anl\u0131k heyecan\u0131 \u00f6l\u00fcms\u00fczle\u015ftirme \u00e7abas\u0131n\u0131n sonucudur. Sanat, g\u00fczelli\u011fin kurald\u0131\u015f\u0131 bir \u015fey olmad\u0131\u011f\u0131n\u0131 varsayar-sanat a\u00e7\u0131s\u0131ndan ‘g\u00fczel’, d\u00fczene ra\u011fmen var olan bir \u015fey de\u011fil-d\u00fczenin ta kendisidir. …Sanat salt do\u011fay\u0131 taklit etmez, sanat yarat\u0131lm\u0131\u015f bir \u015feyi taklit eder. …Sanat bizde varolan bir \u015feyi tan\u0131ma gizilg\u00fcc\u00fcn\u00fc s\u00fcrekli bir g\u00fcce d\u00f6n\u00fc\u015ft\u00fcrme giri\u015fimidir” diyor. Sanat\u00e7\u0131 i\u00e7in d\u00fcnya, desenler ve renkler karma\u015fas\u0131d\u0131r. Sanat\u00e7\u0131, bu karma\u015fadan sanatsal bir d\u00fczen yaratarak, varolu\u015fu tan\u0131ma gizil g\u00fcc\u00fcn\u00fc s\u00fcrekli g\u00fcce d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Sanat\u0131n d\u0131\u015f\u0131nda her \u015fey, teknikte oldu\u011fu gibi bir kenetlenme, h\u0131r yer de\u011fi\u015ftirme eylemidir. Sanat\u00e7\u0131, ‘\u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fcn’ ard\u0131ndad\u0131r. \u00d6l\u00fcms\u00fczl\u00fck ise, sanatsal yarat\u0131n\u0131n var etti\u011fi g\u00fczelli\u011fi alg\u0131lama duygusudur.<\/span>
Resmi ‘\u00f6l\u00fcms\u00fczle\u015ftirme \u00e7abas\u0131n\u0131n sonucu’ sayan Berger, Modigliani’yi, resmetti\u011fi kad\u0131nlar a\u00e7\u0131s\u0131ndan incelerken \u015fu sonuca var\u0131yor: “Modigliani, resimlerinin hem insan tenine hem insan ruhuna seslenmesini istiyordu. En iyi yap\u0131tlar\u0131nda da, yaln\u0131zca yo\u011fun bir \u00f6zlem arac\u0131l\u0131\u011f\u0131yla de\u011fil, kulland\u0131\u011f\u0131 ressaml\u0131k y\u00f6ntemiyle bunu ger\u00e7ekle\u015ftirmi\u015fti. Resimlerinin bu kadar benimsenmesinin nedeni a\u015fktan s\u00f6z etmeleridir. \u00c7o\u011fu zaman a\u00e7\u0131k\u00e7a, kimi zaman da daha \u00f6rt\u00fcl\u00fc bir bi\u00e7imde cinsel a\u015fktan. Bir\u00e7ok ressam sevgililerinin resimlerini yapm\u0131\u015ft\u0131r. Picasso gibi baz\u0131 ba\u015fka ressamlar da kendi isteklerinin titre\u015fimiyle y\u00f6nlendirilmi\u015f sevgili g\u00f6r\u00fcnt\u00fcleri \u00e7izmi\u015flerdir. Modigliani ise seven birinin resimde sevgilisini yaratt\u0131\u011f\u0131 resimler \u00e7izmi\u015ftir. (Kendisi ile modeli aras\u0131nda bir duygu ba\u011f\u0131 olmad\u0131\u011f\u0131 zaman, resimleri ba\u015far\u0131l\u0131 olmam\u0131\u015f, yaln\u0131zca birtak\u0131m karalamalar ortaya \u00e7\u0131km\u0131\u015ft\u0131r.)”<\/span>

Yarat\u0131 d\u00fcnyas\u0131n\u0131 Modigliani ile e\u015fle\u015ftirdi\u011fim Ayaz, modelin de\u011fil, belle\u011finde yaratt\u0131\u011f\u0131 g\u00fczelliklerin ressam\u0131d\u0131r. Bundan dolay\u0131, \u00e7ocukluk bak\u0131\u015flar\u0131n\u0131n belle\u011fine yerle\u015ftirdi\u011fi k\u00f6y kad\u0131nlar\u0131n\u0131n kapal\u0131 bacaklar\u0131, k\u0131rk elli y\u0131l sonra, b\u00fct\u00fcn bedenine siyahlar giyinmi\u015f \u00e7\u0131plaklar olarak yans\u0131m\u0131\u015ft\u0131r tuvaline. Ya\u015f\u0131 ne olursa olsun, ressam, y\u00fcre\u011finden beslenen g\u00f6zlerle bakar nesnelere. Ayaz, sanat\u0131n\u0131n alan\u0131n\u0131 belirlerken, “Do\u011fan\u0131n optik g\u00f6r\u00fcn\u00fcm\u00fc do\u011fan\u0131n olsun; bana onun hamuru, ya\u015fam\u0131ma giren an\u0131s\u0131, sanat motifi haline gelebilecek genel yasalar\u0131 gerek” diyor. ‘Ya\u015fam\u0131na giren an\u0131’, ‘zaman’ i\u00e7inde s\u00fcrekli geli\u015ferek, y\u00fcz bin kad\u0131n \u00e7izse, y\u00fcz bin kad\u0131n\u0131n da y\u00fczleri ayn\u0131 olsa, onun, resimle duyumsatmak istedi\u011fi, sanatsal yarat\u0131n\u0131n kendine \u00f6zg\u00fc yans\u0131mas\u0131n\u0131 alg\u0131lamad\u0131r. Ayaz, ya\u015fam\u0131 boyunca, ‘g\u00fczel bir \u015fey yakalad\u0131 m\u0131, onu yeniden g\u00fczelle\u015ftirmeye’, Berger’in belirtti\u011fi gibi, ‘gizil g\u00fcc\u00fc s\u00fcrekli g\u00fcce d\u00f6n\u00fc\u015ft\u00fcrme’ye \u00e7al\u0131\u015fm\u0131\u015f; bunu -ancak “g\u00fczelli\u011fi kendi i\u00e7inde duyumsayan’ sanat\u00e7\u0131n\u0131n olu\u015fturaca\u011f\u0131na inanm\u0131\u015ft\u0131r.<\/span>

Bir g\u00fcn, soyutlama a\u015famas\u0131ndaki bu g\u00f6r\u00fc\u015flerimin, resim yaparken izledi\u011fim Ayaz’da nas\u0131l ger\u00e7ekle\u015fti\u011fine tan\u0131k oldum.<\/span>
Ankara’ya her geli\u015fimde at\u00f6lyesine u\u011frad\u0131\u011f\u0131m Ayaz, son g\u00f6rd\u00fc\u011f\u00fcmde, co\u015fkular\u0131n\u0131n mutlu s\u0131n\u0131rlar\u0131nda, sevin\u00e7ten u\u00e7ar gibiydi. Ankara’n\u0131n parlak g\u00fcne\u015fi at\u00f6lyesinin duvarlar\u0131na s\u0131ralad\u0131\u011f\u0131 resimlerine can veriyordu sanki. Ben de, i\u00e7imizde ayn\u0131 g\u00fcne\u015fin k\u0131p\u0131rdad\u0131\u011f\u0131n\u0131 alg\u0131l\u0131yor, bundan mutluluk duyuyordum. Ayaz, \u00e7o\u011funlukla kendine yak\u0131\u015ft\u0131rd\u0131\u011f\u0131 hastal\u0131klardan, gerilimlerden hi\u00e7 s\u00f6z etmedi o g\u00fcn. Odadan odaya girip \u00e7\u0131k\u0131yor, bana bir \u015feyler yedirip i\u00e7irmek istiyordu. Yuvas\u0131na bir radyum ta\u015f\u0131 gibi yerle\u015fmi\u015f g\u00f6zleri, d\u0131\u015far\u0131ya de\u011fil, i\u00e7inde bir yerlere bak\u0131yordu. Birka\u00e7 g\u00fcn \u00f6nce, \u0130stanbul’a telefon edip, “Ankara’ya erken gelmeye \u00e7al\u0131\u015f,” dedi. K\u0131rk y\u0131ll\u0131k arkada\u015f\u0131m\u0131n yarat\u0131c\u0131 g\u00f6zlerinde kendimi g\u00f6rmek, onun \u00e7izgileriyle, renkleriyle var olmak, y\u0131llarca kurdu\u011fum bir d\u00fc\u015ft\u00fc.<\/span>
D\u00fc\u015f ger\u00e7ekle\u015fiyordu…<\/span>

Kar\u015f\u0131s\u0131na oturmu\u015f, o benim resmimi yaparken, bende onun davran\u0131\u015flar\u0131n\u0131 g\u00f6zlemeye ba\u015flam\u0131\u015ft\u0131m. Aram\u0131zdaki ayr\u0131m, onun, bedeniyle, elleri ve g\u00f6zleriyle durmadan devinmesi; benim, bir \u00e7izi gibi yerime \u00e7ak\u0131l\u0131p kalm\u0131\u015f olmam\u0131!<\/span>
\u00c7a\u011fda\u015f erotizmi”sevgi” boyutunda i\u015fleyen bir ressam\u0131n f\u0131r\u00e7as\u0131, kimi yerde t\u00fcy gibi, kimi yerde h\u0131n\u00e7l\u0131 vuru\u015flarla paletten tuvale, tuvalden palete, g\u00f6z\u00fcn izleyemeyece\u011fi bir h\u0131zla gidip geliyordu. \u00d6l\u00fcml\u00fcl\u00fck \u00fclkesinden \u00f6l\u00fcms\u00fczl\u00fck evrenine ge\u00e7en d\u00fc\u015fsel yarat\u0131klar\u0131n co\u015fkusu vard\u0131 i\u00e7imde. “Don Quijote”, “Hamlet”, “Madam Bovary”, “Rembrandt”, “van Gogh”, “Picasso””… yan\u0131mda y\u00f6remde dola\u015f\u0131yordu. Bozk\u0131r\u0131n temiz g\u00fcne\u015fi, ressam\u0131n yarat\u0131c\u0131 renkleri, sanat\u00e7\u0131n\u0131n elleri… Kula\u011f\u0131mdan Beethovenler, Mozartlar, \u00c7aykovskiler ge\u00e7iyordu.<\/span>

Sanat\u00e7\u0131n\u0131n en silik \u00e7izgisinde varolmay\u0131 \u00f6l\u00fcms\u00fczl\u00fck sayan benim gibi bir ki\u015finin, ressam kar\u015f\u0131s\u0131ndaki co\u015fkusunu d\u00fc\u015f\u00fcn\u00fcn!<\/span>
Y\u0131llar \u00f6nce, “Sanat, ‘basit’ olanda; ancak ‘kolay’ olmayandad\u0131r” diyen Ayaz, resme ba\u015flam\u0131\u015ft\u0131. ‘Kolay olmayan’\u0131n \u00fcstesinden gelme sava\u015f\u0131m\u0131n\u0131 g\u00f6ze almayd\u0131 bu. Boya-tuval-f\u0131r\u00e7a… Bunlar, elinin alt\u0131ndaki ‘basit’ gere\u00e7lerdi. Bir ta\u015f par\u00e7as\u0131na can veren, sonra onun kar\u015f\u0131s\u0131nda tap\u0131nma duygular\u0131yla co\u015fkulara bo\u011fulan Michelangelo geldi g\u00f6zlerimin \u00f6n\u00fcne. Vincent van Gogh, “Tanr\u0131n\u0131n eksik b\u0131rakt\u0131\u011f\u0131n\u0131 sanat\u00e7\u0131 tamamlar” demi\u015fti. B\u00fct\u00fcn ger\u00e7ek sanat\u00e7\u0131lar gibi, Ayaz da, elinin alt\u0131ndaki ‘basit’ gere\u00e7lerle tanr\u0131n\u0131n eksik b\u0131rakt\u0131klar\u0131n\u0131 tamamlama \u00e7abas\u0131ndayd\u0131. ‘Kolay’ olmayan, kar\u015f\u0131s\u0131ndaki ‘y\u00fcz’d\u00fc; o ‘y\u00fcz’\u00fc beyninin en u\u00e7 noktalar\u0131na emdirip, f\u0131r\u00e7as\u0131n\u0131n ucuna bir boya damlac\u0131\u011f\u0131 olarak alacak, tuvale aktaracakt\u0131. F\u0131r\u00e7adaki y\u00fczlerce k\u0131l\u0131n hangi rengi hangi renkle bulu\u015fturaca\u011f\u0131n\u0131n aray\u0131\u015flar\u0131na koyulmu\u015ftu. ‘Kolay’ olmayan buydu! van Gogh’un ‘kendi portreleri’ni getirin g\u00f6z\u00fcn\u00fcz\u00fcn \u00f6n\u00fcne; her f\u0131r\u00e7a vuru\u015funda t\u00fckeni\u015finin; t\u00fckendik\u00e7e varolu\u015funun yarat\u0131l\u0131\u015f\u0131n\u0131 g\u00f6r\u00fcrs\u00fcn\u00fcz. Sanat\u00e7\u0131, f\u0131r\u00e7a k\u0131llar\u0131n\u0131n ucundaki k\u00fc\u00e7\u00fcc\u00fck boya damlac\u0131klar\u0131 ile insano\u011flunun bireysel ac\u0131lar\u0131n\u0131n izini gergin beze yayarken, o \u00f6l\u00e7\u00fcde de, onun evrensel d\u00fcnyas\u0131na ger\u00e7e\u011fin g\u00fczelli\u011fini i\u015fler.<\/span>

Sanat\u00e7\u0131n\u0131n g\u00fcc\u00fc f\u0131r\u00e7as\u0131n\u0131n ucundad\u0131r.<\/span>
Portremi yapmaya ba\u015flarken, “Resimlerimin duyumsamalara, co\u015fkulara dayand\u0131\u011f\u0131 s\u00f6ylenir; oysa resme ba\u015flamadan \u00f6nce \u00e7ekti\u011fim beyin sanc\u0131lar\u0131n\u0131 bilseler!..” diyen Ayaz’\u0131n g\u00f6zlerinde, onun yarat\u0131 d\u00fcnyas\u0131na nak\u015folmu\u015f suretimi d\u00fc\u015fl\u00fcyordum. Y\u00fcz\u00fcmdeki anlam\u0131 kavrama \u00e7abas\u0131yla, beyninden gelen sinyaller g\u00f6zlerinde \u015fim\u015fek gibi \u00e7ak\u0131yor; f\u0131r\u00e7as\u0131, y\u00fcz\u00fcm\u00fc tuvale yans\u0131t\u0131yordu. Ayaz, yaln\u0131zca kar\u015f\u0131s\u0131nda oturan modelle yetinmiyordu, beynine yerle\u015ftirdi\u011fi ‘insan-ger\u00e7ek-g\u00fczellik’ kavramlar\u0131n\u0131n i\u00e7 i\u00e7eli\u011fi ba\u011flam\u0131nda \u00e7iziyordu portreyi. Kar\u015f\u0131s\u0131ndaki kad\u0131n, erkek, hayvan, bitki… de\u011fildi; ger\u00e7e\u011fin ve g\u00fczelli\u011fin varolu\u015fuydu. Vincent van Gogh’un, k\u0131zg\u0131n sar\u0131 bu\u011fday tarlalar\u0131n\u0131n ger\u00e7ekli\u011fine ula\u015fma \u00e7abas\u0131na benzer bir tutkuyla kullan\u0131yordu f\u0131r\u00e7as\u0131n\u0131. Boyadan tuvale gidip gelen el ise, sanatsal mekanizmas\u0131 kurulmu\u015f yarat\u0131c\u0131l\u0131k becerisinin arac\u0131yd\u0131. Rodin’in “Calais K\u00f6yl\u00fcleri”yle yaratt\u0131\u011f\u0131 g\u00f6rkemli duygu o usta elin \u00fcr\u00fcn\u00fcyd\u00fc.<\/span>
Tuvale nelerin yans\u0131d\u0131\u011f\u0131n\u0131 g\u00f6rm\u00fcyordum; ama y\u00fcz\u00fcndeki se\u011firmelerden, bi\u00e7imi bulup bulamad\u0131\u011f\u0131n\u0131, ger\u00e7e\u011fin g\u00fczelli\u011fine erip eremedi\u011fini izleyebiliyordum. G\u00f6rd\u00fc\u011f\u00fcnden \u00e7ok d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcn\u00fcn ard\u0131ndayd\u0131 Ayaz. Altm\u0131\u015f yedi y\u0131ll\u0131k y\u00fcz\u00fcmde, her g\u00f6renin g\u00f6remedi\u011fini ar\u0131yordu. G\u00f6z\u00fcn\u00fc benden ay\u0131rmadan, oturdu\u011fu yerden kalk\u0131p yine oturdu\u011funda, bir an yaln\u0131zla\u015ft\u0131\u011f\u0131n\u0131 duyumsad\u0131m. B\u00fct\u00fcn g\u00fcc\u00fc parmaklar\u0131n\u0131n ucunda toplanm\u0131\u015ft\u0131. Alt duda\u011f\u0131 a\u00e7\u0131l\u0131rken di\u015fleri i\u00e7eriye do\u011fru e\u011filiyor; kendi deyimiyle, ‘di\u015flerini ve f\u0131r\u00e7ay\u0131 alabildi\u011fine s\u0131karak boyaya enerji’ veriyordu. Boyan\u0131n boyal\u0131ktan \u00e7\u0131k\u0131p enerjiye d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc and\u0131 bu; resim, bi\u00e7imini alm\u0131\u015ft\u0131. Aray\u0131\u015f\u0131n sanc\u0131s\u0131 dinginli\u011fe d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fc. Belli olmazd\u0131; yarat\u0131c\u0131 ki\u015fide duygu sanc\u0131lar\u0131n\u0131n ne zaman ba\u015flayaca\u011f\u0131 bilinemezdi. A\u011fz\u0131n\u0131n i\u00e7inde dilinden ba\u015fka bir dille konu\u015fur gibi, anla\u015f\u0131lmayan m\u0131r\u0131lt\u0131lar \u00e7\u0131kar\u0131yordu. ‘Duyarl\u0131 verebilmek i\u00e7in duyarl\u0131 alg\u0131lamak’ gerekti\u011fi d\u00fc\u015f\u00fcncesinin somut d\u00fcnyas\u0131nda dola\u015f\u0131yordu. Resmin bitmi\u015fli\u011fi, g\u00f6zlerindeki dinginlikten anla\u015f\u0131l\u0131yordu; ne var ki, yine de bitmemi\u015flik ku\u015fkusu a\u011f\u0131r bas\u0131yordu. Bu ku\u015fku a\u015famas\u0131nda g\u00f6z g\u00f6ze geldik. Sanatsal g\u00fczelli\u011fin \u015favk\u0131 vurmu\u015ftu g\u00f6zlerine. Foto\u011fraf\u00e7\u0131 kar\u015f\u0131s\u0131ndaym\u0131\u015f\u0131m gibi, kendimi bir ‘bi\u00e7im’e sokmaya \u00e7al\u0131\u015f\u0131yordum. Modeli olan ‘ben’i g\u00f6rmedi\u011finden emindim. Y\u00fcz\u00fcne \u00e7arp\u0131p ge\u00e7en g\u00fclme esintisinden, yeni bir duygu sanc\u0131s\u0131na tutuldu\u011funu kestirebiliyordum.<\/span>

Beni b\u00fcy\u00fclemi\u015fti Ayaz. \u00c7al\u0131\u015fmas\u0131n\u0131 g\u00f6zlerken zaman kavram\u0131n\u0131 yitirmi\u015ftim. Yerinden kalkt\u0131. “Gel bak!” dedi. ‘Olmu\u015f mu. olmam\u0131\u015f m\u0131 anlam\u0131nda bir onaylatma anlam\u0131 yoktu bunda. Benim, ‘Olmu\u015f!’ dememin hi\u00e7bir anlam ta\u015f\u0131mayaca\u011f\u0131n\u0131 bile bile, kalkt\u0131m bakt\u0131m. Bir \u00e7al\u0131\u015fman\u0131n bitmi\u015fli\u011fine sanat\u00e7\u0131n\u0131n d\u0131\u015f\u0131nda kim karar verebilirdi?…<\/span>
“Gel, bak!” demesi bir zaman aralanmas\u0131yd\u0131 yaln\u0131zca. Ya, yeni aray\u0131\u015flara ba\u015flayacakt\u0131, ya da beyninden g\u00f6zlerine inen sinirleri dinlendirecekti. Ben ise, resme bak\u0131nca, tasarlama s\u0131n\u0131rlar\u0131m\u0131 a\u015fan bir renk co\u015fkusuyla kar\u015f\u0131 kar\u015f\u0131ya kalm\u0131\u015ft\u0131m. F\u0131r\u00e7ay\u0131 hemen elinden b\u0131rakmas\u0131n\u0131, resmin hi\u00e7bir yerini de\u011fi\u015ftirmemesini isterdim. Benim tepkilerimi \u00f6ylesine izleyerek, bir bana. bir resme bak\u0131yordu. F\u0131r\u00e7a, paletle tuval aras\u0131nda mekik dokuyordu. Devreye sanat\u0131n kurallar\u0131 girmi\u015fti. Model duran\u0131n, susmaktan \u00f6te g\u00fcc\u00fcn\u00fcn bulunmad\u0131\u011f\u0131 yere gelmi\u015ftik. En k\u0131sa s\u00f6zc\u00fckleri se\u00e7erek, “Ge\u00e7 otur!” dedi. “Bitmedi mi?” diye sordu\u011fumda, ‘Resim, bitti\u011fi zaman ba\u015flar’ dercesine g\u00fcld\u00fc. Saniye ka\u00e7\u0131rmak istemiyordu. Yerimi ald\u0131m. Tuvalden \u00e7ok palette dola\u015f\u0131yordu eli. F\u0131r\u00e7as\u0131n\u0131n ucunu de\u011fdirdi\u011fi boyalar birbiriyle bulu\u015ftu\u011funda ortaya ancak kendinin bulabilece\u011fi renkler \u00e7\u0131k\u0131yordu. Hangi rengi hangi dozda kullanaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcrken, i\u015f f\u0131r\u00e7aya de\u011fil, f\u0131r\u00e7an\u0131n tek tek k\u0131l u\u00e7lar\u0131na d\u00fc\u015fm\u00fc\u015ft\u00fc. G\u00f6z ucuyla palete bak\u0131yordum. Her ressam\u0131n kendine \u00f6zg\u00fc renkleri vard\u0131r; o renklerin ard\u0131ndayd\u0131 f\u0131r\u00e7as\u0131. Palette olu\u015fturdu\u011fu boyay\u0131 tuvale s\u00fcr\u00fcyor: istedi\u011fi rengi bulam\u0131yor olmal\u0131 ki, elindeki bezle silip al\u0131yordu. Resim, ‘renk, \u00e7izgi ve formlarla d\u00fc\u015f\u00fcnme’ a\u015famas\u0131na ermi\u015fti. Ayr\u0131nt\u0131lara varma s\u00fcreci ba\u015flam\u0131\u015ft\u0131, eksiklikleri g\u00f6r\u00fcyor, k\u0131rm\u0131z\u0131dan griye, sar\u0131dan k\u0131z\u0131l karaya, elde etti\u011fi renkleri \u00e7\u0131lg\u0131nca s\u00fcr\u00fcyordu tuvale.<\/span>

Sonunda bitirdi resmi, imzas\u0131n\u0131 att\u0131. F\u0131r\u00e7ay\u0131 kullanmadan, bir parmak hareketiyle. Resme ‘kendi y\u00fcz\u00fc’n\u00fc de \u00e7izdi. G\u00fcl\u00fcc\u00fcklerini yitirmi\u015f, silik, o \u00f6l\u00e7\u00fcde de dingin, bir ruhu \u00e7a\u011fr\u0131\u015ft\u0131ran kendi deseni, resimdeki yerini al\u0131nca, resimden uzakla\u015f\u0131p bir de \u00f6yle bakt\u0131.<\/span>

Resimde beni g\u00f6rmek isteyenlerin ‘ben’i de\u011fil; ac\u0131lar\u0131mla, dalgalanan duygular\u0131mla beni tan\u0131yan Ayaz’\u0131n ‘ben’i idim art\u0131k! Altm\u0131\u015f yedi y\u0131ll\u0131k ya\u015fam\u0131mda g\u00f6remedi\u011fim y\u00fcz\u00fcmle, ger\u00e7ek ben’le kar\u015f\u0131la\u015fm\u0131\u015ft\u0131m. Picasso, “Resim senin benden istedi\u011fin de\u011fil, benim sana verdi\u011fimdir” demi\u015fti. Ayaz’\u0131n f\u0131r\u00e7as\u0131nda, yarat\u0131l\u0131\u015fta eksik b\u0131rak\u0131lm\u0131\u015f y\u00f6nleri tamamlanm\u0131\u015f bir ‘ben’ vard\u0131 kar\u015f\u0131mda.<\/span>

At\u00f6lyeden ayr\u0131ld\u0131\u011f\u0131mda, bir avu\u00e7 boyadan yarat\u0131lm\u0131\u015f yeni bir insand\u0131m!<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Mustafa Ayaz\u00d6zge\u00e7mi\u015fSergiler\u00d6d\u00fclleriKi\u015fisel Yaz\u0131lar\u0131\u25baMakaleler Makaleler Mustafa Ayaz \/ Zafer Gen\u00e7ayd\u0131n 1938 y\u0131l\u0131 A\u011fustos’unda Trabzon-\u00c7aykara il\u00e7esi Kabata\u015f K\u00f6y\u00fc’nde, ailesinin d\u00f6rd\u00fcnc\u00fc \u00e7ocu\u011fu olarak…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":51065,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-51056","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/mustafaayazmuzesi.com\/TR\/index.php\/wp-json\/wp\/v2\/pages\/51056","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mustafaayazmuzesi.com\/TR\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/mustafaayazmuzesi.com\/TR\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/mustafaayazmuzesi.com\/TR\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mustafaayazmuzesi.com\/TR\/index.php\/wp-json\/wp\/v2\/comments?post=51056"}],"version-history":[{"count":10,"href":"https:\/\/mustafaayazmuzesi.com\/TR\/index.php\/wp-json\/wp\/v2\/pages\/51056\/revisions"}],"predecessor-version":[{"id":51088,"href":"https:\/\/mustafaayazmuzesi.com\/TR\/index.php\/wp-json\/wp\/v2\/pages\/51056\/revisions\/51088"}],"up":[{"embeddable":true,"href":"https:\/\/mustafaayazmuzesi.com\/TR\/index.php\/wp-json\/wp\/v2\/pages\/51065"}],"wp:attachment":[{"href":"https:\/\/mustafaayazmuzesi.com\/TR\/index.php\/wp-json\/wp\/v2\/media?parent=51056"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}