{"id":897,"date":"2015-04-19T12:40:23","date_gmt":"2015-04-19T12:40:23","guid":{"rendered":"http:\/\/www.yolunezeli.com\/?p=897"},"modified":"2021-12-19T08:49:57","modified_gmt":"2021-12-19T08:49:57","slug":"anadolu-halk-sazi-baglamanin-tarihi","status":"publish","type":"post","link":"https:\/\/www.yolunezeli.com\/?p=897","title":{"rendered":"ANADOLU ALEV\u0130-BEKTA\u015e\u0130 HALK SAZI-H\u00dcDA TELL\u0130 BA\u011eLAMANIN TAR\u0130H\u0130"},"content":{"rendered":"

\"IMG_0191\"<\/a><\/b><\/p>\n

ANADOLU ALEV\u0130 -BEKTA\u015e\u0130 HALK SAZI- H\u00dcDA TELL\u0130 BA\u011eLAMANIN TAR\u0130H\u0130<\/strong><\/p>\n

Kemal SOYER .Y.Mimar<\/span><\/strong><\/p>\n

K\u00fclt\u00fcr Bakanl\u0131\u011f\u0131 Emekli Genel M\u00fcd\u00fcr\u00fc<\/span><\/strong><\/p>\n

(Telif hakk\u0131 Kemal SOYER’e aittir, kaynak g\u00f6sterilmeden al\u0131nt\u0131 yap\u0131lamaz, izinsiz \u00e7o\u011falt\u0131l\u0131p kullan\u0131lamaz<\/em><\/span>)<\/p>\n

Anadolu\u2019da Neolitik D\u00f6nemden itibaren g\u00f6r\u00fclen bo\u011fa donlu tanr\u0131 betimleri ile Eski Tun\u00e7 \u00c7a\u011f\u0131\u2019nda g\u00f6r\u00fclen arp, lir, gitar, ko\u00e7karca ve keman formlu idoller kadim halklar\u0131n \u00a0g\u00f6k tanr\u0131s\u0131n\u0131 bo\u011fa, bo\u011fa ba\u015f\u0131 ve insan bedeninden soyutlanm\u0131\u015f formlara konu enstr\u00fcmanlarla ifade ettikleri, ilahi m\u00fczik, semah, dans vb. rit\u00fcelleri binbir donda varl\u0131klarla huzura \u00e7\u0131kan ,konu\u015fan ,m\u00fczik yapan ve dans eden evrenin varolu\u015fsal ya\u015fam d\u00fczeninin do\u011fal bir ifadesi olarak ya\u015fad\u0131klar\u0131na tan\u0131kl\u0131k ederler. Varl\u0131\u011f\u0131n Birli\u011fi temelinde Hakk\u0131 Ademde bulan Anadolu Alevi-Bekta\u015fi Halk\u00a0 inanc\u0131nda “\u0130nsan Hakk\u0131n binas\u0131d\u0131r”-“\u0130nsan Hakta Hak insanda ,Ne ararsan bak insanda”<\/strong>deyimleriyiyle paralel olarak ;<\/span><\/p>\n

Ba\u011flaman\u0131n g\u00f6vdesi, insan bedenindeki diyafram\u0131, g\u00f6\u011f\u00fcs kafesini ve akci\u011ferleri,<\/strong><\/span><\/p>\n

Sap\u0131,insan g\u0131rtla\u011f\u0131n\u0131,<\/strong><\/span><\/p>\n

Perdeleri, g\u0131rtlak bo\u011fumlar\u0131n\u0131,<\/strong><\/span><\/p>\n

Telleri, ses tellerini, <\/strong><\/span><\/p>\n

Yedi teli ; H\u00fcda Tallay\u0131 ,yedi tanr\u0131y\u0131-Yedi K\u0131z\u0131lba\u015f\u0131 , yedi nota ve evrenin yedi imgesini,<\/strong><\/span><\/p>\n

Burgular\u0131 insan kulaklarn\u0131\u0131,<\/strong><\/span><\/p>\n

Pen\u00e7e vurulu\u015fu ,”Pen\u00e7e-i Ali Abba”y\u0131,<\/strong><\/span><\/p>\n

Lolca (Zazaca)”d\u0131-zoni” adl\u0131\u00a0tezenesi de b\u00fcy\u00fck ve\u00a0k\u00fc\u00e7\u00fck dilimiz\u00a0ile\u00a0ilahi d\u00fczeni kar\u015f\u0131lamaktad\u0131r.<\/strong><\/span><\/p>\n

Bu yap\u0131s\u0131yla ba\u011flama, tanr\u0131-insan temelli tasar\u0131m\u0131yla kutsal bir sazd\u0131r. Ba\u011flamada daha \u00e7ok \u00a0dut a\u011fac\u0131n\u0131n tercih edilmesinin s\u0131rr\u0131 da G\u00fcne\u015fi ve G\u00fcne\u015f Tanr\u0131s\u0131n\u0131 kar\u015f\u0131layan d.UTU.S\u0130 S\u00fcmerogram\u0131 olup, Lolca-Zazaca bu terim “kara dut”olarak okunmaktad\u0131r.Bu i\u00e7erikle ba\u011flama Hakk\u0131,Hak kelam\u0131 E.KUR-E.ANNA’y\u0131, g\u00fcne\u015fi ve toplumsal ayd\u0131nlanmay\u0131 temsil etmektedir.(1)<\/span><\/p>\n

Ba\u011flama;kutsal \u015fiir, nefes,d\u00fcvaz ve ilahilerden olu\u015fan Hakk kelam\u0131n\u0131 belirli makam ve ritmlerle ifade etme arac\u0131 olarak kullan\u0131lan enstr\u00fcmanlar aras\u0131ndaki m\u0131zrapl\u0131 sazlar\u0131n atas\u0131d\u0131r. Ba\u011flaman\u0131n kadim sanat eserlerine yans\u0131yan ilk \u00f6rnekleri S\u00fcmer ve Elam-Kasit Uygarl\u0131klar\u0131nda ,daha geli\u015fkin \u00f6rnekleriyse, Eski Hitit-Ge\u00e7 Hitit D\u00f6nemi Anadolu’su ile Kuzey Suriye eserlerinde g\u00f6r\u00fcl\u00fcr. Tap\u0131nak m\u00fczisyenlerince dini t\u00f6renlerde kullan\u0131ld\u0131\u011f\u0131 bilinen ba\u011flama, S\u00fcmer ve Hitit co\u011frafyalar\u0131nda Tanr\u0131\u00e7a \u0130nanna’ya ba\u011fl\u0131\u00a0 \u201cLalupiya adamlar\u0131n\u0131n (Lulubi-Lolan)\u201d icra etti\u011fi k\u00fclt t\u00f6renleri arac\u0131l\u0131\u011f\u0131yla yayg\u0131nla\u015farak Suriye ve M\u0131s\u0131r halk k\u00fclt\u00fcr\u00fcne girmi\u015f, zamanla Anadolu k\u00fclt\u00fcr\u00fcnden etkilenen Orta Asya ve Balkanlarda tar,gitar ,\u015fe\u015ftar ve setar gibi farkl\u0131 formlarda kullan\u0131lan bir enstr\u00fcman haline gelmi\u015ftir.<\/span><\/p>\n

Mezopotamya\u2019da S\u00fcmer-Akad ve Elam D\u00f6nemi silindir m\u00fch\u00fcrleri ile Kasitler D\u00f6neminin \u00a0kudurru denilen s\u0131n\u0131r ta\u015flar\u0131 firizlerinde g\u00f6r\u00fclen ba\u011flaman\u0131n Anadolu\u2019daki en erken betimleri, Bo\u011fazkale (Hattu\u015fa),Ali\u015far, \u00c7orum H\u00fcseyindede ile \u00c7ank\u0131r\u0131 \u0130nand\u0131ktepe\u2019den \u00e7\u0131kan Eski Hitit D\u00f6nemi k\u00fclt vazolar\u0131 \u00fczerinde g\u00f6r\u00fcl\u00fcr. Alacah\u00f6y\u00fck ile Ge\u00e7 Hitit-Luvi (Alevi) D\u00f6nemi Kargam\u0131\u015f \u015eehri kent duvar\u0131 bezemeleri aras\u0131ndaki ziyafet sahnesi ile dini t\u00f6ren alay\u0131 r\u00f6lyefleri \u00fczerinde g\u00f6r\u00fclen p\u00fcsk\u00fcll\u00fc ba\u011flama \u00f6rnekleri, Anadolu ozanlar\u0131n\u0131n g\u00fcn\u00fcm\u00fczde de severek kulland\u0131klar\u0131 ba\u011flama \u00f6rneklerine yak\u0131n \u00f6zellikler g\u00f6stermektedir.<\/span><\/p>\n

Pen\u00e7e veya m\u0131zrapla \u00e7al\u0131nan ba\u011flaman\u0131n ilk \u00f6rnekleri ,kaplumba\u011fa kabu\u011fu,su kaba\u011f\u0131 veya a\u011fa\u00e7tan oyma bir g\u00f6vdeye biti\u015fik sap \u00fczerine gerdirilen ince kiri\u015flerden (ba\u011f\u0131rsak tel) olu\u015fturulmu\u015f, halk diliyle\u201cd\u00fcl\u201d denilen kiri\u015fler zamanla\u201ctel\u201dolarak an\u0131lm\u0131\u015ft\u0131r.Plastik sanatlara yans\u0131yan ilk \u00f6rneklerinde pen\u00e7eyle \u00e7al\u0131nan ba\u011flamalarda, \u00a0m\u0131zrap\u00a0(tezene-d\u0131 zon), p\u00fcsk\u00fcl ve perde d\u00fczeni bariz olarak yer alm\u0131\u015ft\u0131r.<\/span><\/p>\n

Semah ve ilahilere konu k\u00fclt t\u00f6renleri, Hakka Y\u00fcr\u00fcme\u00a0 Erkanlar\u0131, bahar, \u00fcreme ve hasat bayramlar\u0131, evlilik t\u00f6renleri, ziyafet ve e\u011flence ama\u00e7l\u0131 kullan\u0131mlar d\u0131\u015f\u0131nda, askeri ge\u00e7it t\u00f6renlerinde de kullan\u0131ld\u0131\u011f\u0131 bilinen ba\u011flama, S\u00fcmerlerce GIS SA.A. TAR <\/strong>S\u00fcmerogram\u0131yla tan\u0131mlanm\u0131\u015f,bu terim Anadolu, \u0130ran ve Azerbaycan halk dilinde \u201ctar\u201d,\u201dsetar\u201d veya \u201c\u015fe\u015ftar\u201dbi\u00e7imiyle yer alm\u0131\u015ft\u0131r. T\u00fcrkmenlerde “hazkara” denilen p\u00fcsk\u00fcl sallama terimiyle de ya\u015fad\u0131\u011f\u0131 gibi ,Hitit\u00e7e sevgiyle \u00e7al\u0131n\u0131\u015f\u0131 \u201chazzik\u201d terimiyle ifade edilen ve tanr\u0131y\u0131 temsil eden \u00a0 Anadolu ba\u011flamas\u0131, Alevilikte S\u00fcmerce E’.KUR-E’.ANNA\u00a0 -E’.KAR\u0130MM\u0130 ile tan\u0131mlanan Tanr\u0131 Makamlar\u0131ndan kaynakl\u0131\u00a0 Hak kelam\u0131n\u0131 seslendiren i\u015fleviyle“DIL KUR AN -Telli KUR-AN, Telli Baba”<\/strong>ad\u0131yla an\u0131lmaktad\u0131r.\u00a0 <\/strong>G\u00f6vde \u00e7ap\u0131 ve sap uzunlu\u011fu temelinde; tamur, tambura, cura, cura ba\u011flama, \u00e7e\u015fte, \u015fe\u015ftar, \u00e7iftetelli, meydan saz\u0131, divan saz\u0131, onikitelli, bulgari(Baalgarru), berbat, r\u0131zva\/ruzba, bunkar \u00a0ve bozuk (harabi) gibi isimler alm\u0131\u015ft\u0131r. Cura dizisi \u00a0i\u00e7inde tekne s\u0131rt\u0131 balta bi\u00e7iminde olup “Dede Saz\u0131” da tabir edilen “Balta Cura”, Alevi inanc\u0131nda \u00e7ok \u00f6zel bir yere sahiptir (yukar\u0131da resimde, ortadaki \u00a0saz)<\/span><\/p>\n

Binlerce y\u0131ll\u0131k ser\u00fcveniyle Anadolu ba\u011flamas\u0131 ve ozanl\u0131k gelene\u011finin \u00e7a\u011flar \u00f6ncesi Anadolu halk k\u00fclt\u00fcr\u00fcndeki varl\u0131\u011f\u0131yla ilgili olarak Homeros \u201cOdysseia\u201dadl\u0131 eserinde\u00a0\u015fu dizeleri yazm\u0131\u015ft\u0131r<\/span><\/p>\n

\u201c(…)oyuk bir saz\u0131n sesi geliyordu kulaklar\u0131na Phemios saza ba\u015flam\u0131\u015ft\u0131 talipler \u00f6n\u00fcnde.<\/span><\/p>\n

(…) Anla\u015f\u0131lan \u015f\u00f6len yapar i\u00e7eride bir s\u00fcr\u00fc adam,duydun mu?, bak d\u0131\u015far\u0131 yay\u0131l\u0131r ya\u011f kokular\u0131, saz da \u00e7\u0131nl\u0131yor, tanr\u0131lar onu \u015f\u00f6lene yolda\u015f yapm\u0131\u015flar.<\/span><\/p>\n

(….)\u00c7alg\u0131yla oyunla \u015f\u00f6len tam olsundu. U\u015fak \u00e7ok g\u00fczel bir saz verdi Phemios\u2019un eline, bu ozana d\u00fc\u015fm\u00fc\u015ft\u00fc taliplere ezgi s\u00f6ylemek,dokundu tellere bir t\u00fcrk\u00fc tutturdu.\u201d<\/span><\/p>\n

Phemios’un \u00e7ald\u0131\u011f\u0131 saz Yunanca Buzuki, Anadolu’da bozuk d\u00fczen denilen ba\u011flamad\u0131r. Bulgari ise Bulgar Halk saz\u0131 de\u011fil, Karamano\u011fullar\u0131n\u0131n atalar\u0131 Lolan Balka Kavmiyle onlar\u0131n ad verdikleri BOLKA DA\u011eI ve Makam olarak adand\u0131\u011f\u0131 Tanr\u0131 BAAL’in ad\u0131d\u0131r.”Baal Kurra” kavram\u0131\u00a0 Tanr\u0131n\u0131n g\u00fcrlemesi anlam\u0131ndad\u0131r. \u015eikari’nin Karamannamesinde BALKA ad\u0131yla ge\u00e7ti\u011fi halde J\u00f6n T\u00fcrk\u00e7\u00fclerce “BOLKAR ve BULGAR’a asimile edilmi\u015ftir.<\/span><\/p>\n

Frans\u0131z- J\u00f6nt\u00fcrk\u00e7\u00fc Tarih Tezi, ba\u011flamay\u0131 Orta Asya k\u00f6kenli bir kopuz t\u00fcr\u00fc olarak ifade etmi\u015f, bu yolla S\u00fcmer ve Hititli Alevilerin binlerce y\u0131ll\u0131k Anadolu\u00a0k\u00fclt\u00fcr\u00fc, folklor,\u00a0halk m\u00fczi\u011fi\u00a0ve etnografya alanlar\u0131ndaki \u00fcretici, \u00f6nc\u00fc rol\u00fcn\u00fc inkar etmi\u015fti.Bu nedenle 1998 de\u201cK\u00fclt\u00fcrlerin Belle\u011fi Anadolu”<\/strong> afi\u015fiyle Hitit D\u00f6nemi ba\u011flama ve semah\u00a0\u00f6rneklerini yay\u0131nlad\u0131m.(2),Bu yay\u0131n\u0131n ard\u0131ndan 50 y\u0131l boyunca\u00a0ba\u011flamaya “lauta” diyen Hititolog Ord. Prof.Dr.Sedat ALP<\/strong>\u00a0suskunlu\u011funu bozarak,yay\u0131nlad\u0131\u011f\u0131 \u201cHitit G\u00fcne\u015fi\u201d<\/strong>\u00a0adl\u0131 eserinde \u201cT\u00fcrk Halk ozanlar\u0131n\u0131n saz\u0131n\u0131n k\u00f6keni Hitit Saz\u0131d\u0131r\u201d <\/em><\/strong>diyerek\u00a0100 y\u0131ll\u0131k T\u00fcrk Tarih Tezini yalanlamak zorunda kalm\u0131\u015ft\u0131r.<\/span><\/p>\n

Sedat ALP“T\u00fcrk Halk ozanlar\u0131n\u0131n saz\u0131n\u0131n k\u00f6keni Hitit Saz\u0131’d\u0131r”<\/em>\u00a0<\/strong>demekle \u00a0sadece ba\u011flamay\u0131 de\u011fil, Anadolu Alevili\u011fi ile ozanl\u0131k gelene\u011finin de, Hatti-Hitit\u00a0ve Hurrilere dayand\u0131\u011f\u0131n\u0131 itiraf etmi\u015f oldu.<\/strong>\u00a0 B\u00f6ylece “Alevilik sadece bir inan\u00e7t\u0131r”\u00a0diyen Arap\u00a0soylu Alevi \u0130slamc\u0131lar ile T\u00fcrk ve K\u00fcrt\u00a0\u0130slamc\u0131 siyaset \u00e7evrelerinin \u00a0Alevi ger\u00e7e\u011fini \u00a0ifade etmediklerini de ortaya koymu\u015f oldu.<\/span><\/p>\n

1921 y\u0131l\u0131nda a\u00e7\u0131lan Ankara Anadolu Medeniyetleri M\u00fczesinde sergide olan Kargam\u0131\u015f ba\u011flama kabartmalar\u0131n\u0131n \u00fczerinde 1998 y\u0131l\u0131na dek “\u00c7ALGICILAR” etiketi vard\u0131.Genel M\u00fcd\u00fcr olarak g\u00f6reve ba\u015flad\u0131\u011f\u0131mda m\u00fczeye giderek duruma m\u00fcdahale ettim.\u00a0M\u00fcd\u00fcr \u0130lhan TEM\u0130ZSOY etiketi “ba\u011flama \u00e7alan m\u00fczisyenler” olarak de\u011fi\u015ftirdi.<\/span><\/p>\n

Anadolu halk a\u015f\u0131klar\u0131 ve ozanl\u0131k gelene\u011finin temel enstr\u00fcmanlar\u0131ndan olan ba\u011flama, ge\u00e7mi\u015fte oldu\u011fu gibi g\u00fcn\u00fcm\u00fczde de geli\u015fmi\u015f t\u00fcrleriyle en yayg\u0131n olarak ana vatan\u0131 olan Anadolu\u2019da \u00e7al\u0131nmaktad\u0131r.<\/span><\/p>\n

1-Kemal SOYER ,Hac\u0131 Bekta\u015f-\u0131 Veli-Abdal Musa Konferanslar\u0131.1994<\/span><\/p>\n

2-Bu sitede yer alan K\u00fclt\u00fcrlerin Belle\u011fi Anadolu Afi\u015fine Bak\u0131n\u0131z.\u00a0.<\/span><\/p>\n

Resimler\u00a0:Keman,gitar, ko\u00e7karca bi\u00e7imli idol .Anadolu Tun\u00e7 \u00c7a\u011f\u0131 –<\/span><\/p>\n

\u00a0S\u00fcmer D\u00f6nemi Ba\u011flama \u0130.\u00d6 2300-<\/span><\/p>\n

Elam\u00a0\u00a0D\u00f6nemi (?)ortada ba\u011flama \u00e7alan iki fig\u00fcr \u0130\u00d6.2200<\/span><\/p>\n

Hitit \u0130MP.D\u00f6nemi Ba\u011flama \u0130.\u00d6.16 YY.<\/span><\/p>\n

Ge\u00e7 Hitit \u0130\u00d6.7 YY Kargam\u0131\u015f Eserleri 2 adet P\u00fcsk\u00fcll\u00fc Ba\u011flama-<\/span><\/p>\n

Alacah\u00f6y\u00fck-Gitar\u00a0\u0130.\u00d6 14 YY. \u00a0Zincirli <\/span><\/p>\n

Ge\u00e7 Hitit-Alevi D\u00f6nemi- Ba\u011flama -Semazen \u0130.\u00d6.9 YY.<\/span><\/p>\n

\"SDC13550<\/p>\n

\"IMG_0188\"<\/p>\n

\"SDC13543<\/p>\n

\"IMG_0174\"<\/p>\n

\"IMG_0175\"<\/p>\n

\"IMG_0178\"<\/p>\n

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ANADOLU ALEV\u0130 -BEKTA\u015e\u0130 HALK SAZI- H\u00dcDA TELL\u0130 BA\u011eLAMANIN TAR\u0130H\u0130 Kemal SOYER .Y.Mimar K\u00fclt\u00fcr Bakanl\u0131\u011f\u0131 Emekli Genel M\u00fcd\u00fcr\u00fc (Telif hakk\u0131 Kemal SOYER’e aittir, kaynak g\u00f6sterilmeden al\u0131nt\u0131 yap\u0131lamaz, izinsiz \u00e7o\u011falt\u0131l\u0131p kullan\u0131lamaz) Anadolu\u2019da […]<\/p>\n","protected":false},"author":1,"featured_media":942,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kadence_starter_templates_imported_post":false,"footnotes":""},"categories":[1],"tags":[53,48,69,54,74,66,65,68,60,61,58,59,63,50,52,72,70,62,64,47,67,46,73,51,57,56,55],"class_list":["post-897","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-genel","tag-anadolu-baglamasi","tag-anadolu-halk-sazi","tag-baglama","tag-baglamanin-kokeni","tag-baglamanin-tarihcesi","tag-berbat","tag-bulgari","tag-bunkar-ve-bozuk","tag-ceste","tag-ciftetelli","tag-cura","tag-cura-baglama","tag-divan-sazi","tag-gitar","tag-gitarin-tarihi","tag-hitit-sazi","tag-kopuz","tag-meydan-sazi","tag-onikitelli","tag-ozanlik-gelenegi","tag-ruzba","tag-saz","tag-sazin-tarihcesi","tag-sestar","tag-tambura","tag-tamur","tag-tar"],"_links":{"self":[{"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=\/wp\/v2\/posts\/897","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=897"}],"version-history":[{"count":163,"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=\/wp\/v2\/posts\/897\/revisions"}],"predecessor-version":[{"id":8075,"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=\/wp\/v2\/posts\/897\/revisions\/8075"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=\/wp\/v2\/media\/942"}],"wp:attachment":[{"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=897"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=897"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.yolunezeli.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=897"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}