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Aykaç, Yakup
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Aykac, Yakup
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Araş. Gör.
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Kurdish Language and Culture Programme / Kürt Dili ve Kültürü Programı
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Former Staff
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3
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3
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Article ŞERHA TESEWIFÎ YA QESÎDEYA “BANGÊ WEYS” A KERBELAYÎ(Mardin Artuklu Üniversitesi, 2022) Aykaç, Yakup; Aykaç, Yakup; Kurdish Language and Culture Programme / Kürt Dili ve Kültürü ProgramıWisa tê bawerkirin ji nifşa tabi‘în Weys el-Qe- renî bi rêya xewn û rêyên menewî ji aliyê Hz. Pêxember ve hatiye îrşadkirin. Ji ber vê baweriyê, di rêya tesewifê de kesekî bêyî ku murşîdekî bi- bîne, bi rêya xewn yan jî bi rêyên menewî întisa- bê wî murşîdî bike hingê jê re Uweysî, ji wê rêya girêdana tesewifî re jî Uweysîtî hatiye gotin. Gelek şêxên navdar di dîroka tesewifê de bi navê Uwey- sî hatine naskirin. Yek ji van şêxên ku bi nasnavê Uweysî hatiye naskirin, avakerê terîqeta Neqşî- bendî, Şêx Muhemed Behauddînê Şahê Neqşî- bend e. Wî întisabê rûhaniyeta Şêx ‘Evdilxaliqê Ẋucdewanî kiriye û navlêka Uweysî girtiye ku di terîqeta Neqşîbendî de ev nasnav gelek giring e. Ji berê ve gelek şairên ehlê tesewifê di qesîde û me- dhiyeyên xwe de bi unwana Uweysî pesnê Şahê Neqşîbend daye. Yek ji wan şairan jî Şêx Muhe- medê Axtepî ye ku bêtir bi mexlesa xwe ya Kerbe- layî hatiye nasîn. Kerbelayî ji malbata Axtepiyan e û wek tê zanîn ew malbat di sedsala XIX-an de daye pey rêka Mewlana Xalidê Şarezorî û di nav terîqeta Neqşî-Xalidî de cih girtiye. Qesîdeya Ker- belayî ya bi redîfa “Bange Weys” hatiye nivîsîn ji hivdeh beytan pêk hatiye û dikare bê gotin ew yek ji wan qesîdeyên giring e ku kûrahiya şair di ede- biyata tesewufî de nîşan dide. Şair di vê qesîdeya xwe ya farisî de redîfa “Bange Weys” wek metafor û mecazeke guhêrbar bi kar aniye. “Bangê Weys” di wateya peyam û mîsyona Weys de ye ku şair ev metafor carna bi wateya heqîqî di şûna Weys el-Qerenî de xebitandiye û carna jî bi behskirina sifet û taybetiyên Şahê Neqşîbend îşaretî peyama wî ya gerdûnî kiriye. Şair ev metafor di çarçoveya edebiyata tesewifî de bi alîkariya îstîare, mecaz û kînayeyan di gelek wateyan de bi kar aniye. Me di vê nivîsarê de hewl da ku qesîdeya navborî digel taybetiyên wê yên edebî, li dor tesewifê şirove û rave bikin.Article Molla Alaeddin Kopî ve “rezê Jiyanê” Adlı Divanının İncelenmesi(2020) Aykaç, Yakup; Kurdish Language and Culture Programme / Kürt Dili ve Kültürü ProgramıMolla Alaeddin Kopî, Muş bölgesinde yetişmiş alim, şair ve yazarlardan biridir. Kopî 1939 yılındaBulanık’ın Gündüzü köyünde dünyaya gelmiştir. Muş’ta çeşitli medreselerde birçok alim vemüderristen dersler almış ve dini tedrisatını tamamlamıştır. Eğitiminin ardından 1966-1994 yıllarıarasında Muş’un birçok köyünde imamlık yapmıştır. Emekli olduktan sonra 13 yıl kadarAvrupa’nın çeşitli ülkelerinde imamlık görevini fahri olarak yürütmüştür. Emekli olduktan sonraçeşitli eserler kaleme almakla meşgul olmaktadır. Molla Alaeddin Kopî’nin kaleme aldığı dörteseri sırasıyla şöyledir: Dîwan-Rezê Jiyanê, Tûrê Derwêş, Nushetu’l-Mecalîs adlı eserden hikayeçevirileri ve Jiyana Pîroz a Resûlullah. Bu makalede Kopî’nin Dîwan-Rezê Jiyanê eserindekişiirlerini tahlil edip içerik yönünden ele almaya çalıştık.Article Citation - WoS: 0The Sufi and Literary Commentary on Sheikh Mohammed Karbalayi's Takhmis on Mawlana Khalid-I Baghdadi's Ghazal(Sirnak Univ, 2022) Aykaç, Yakup; Basci, Veysel; Kurdish Language and Culture Programme / Kürt Dili ve Kültürü ProgramıSheikh Mohammad Karbalayi is a sufi poet who grew up in the Akhtepe school, which was one of the important centers of Naqshi-Khalidi school until the first quarter of the 20th century. The poet's literary accumulation, which was shaped around the Naqshi-Khalidi lodge and cult culture, carried him to a distinguished place, especially in the art of sufi poetry. The poet left a legacy of a diwan containing poems from three languages (Persian, Arabic, Ottoman) besides Kurdish; These poems are very rich in terms of content, and have a high rhetorical value, especially in the sufistic sense. In the aforementioned diwan of the poet, there are also takhmis and naqizes made to the ghazals of Mawlana Khalid Bagdadi, the founder of Naqshi-Khalidi. These takhmis and naqizes in question were generally written in Persian. Two of these takhmis written in Persian are in the form of seven bends and the other in the form of five bends. This takhmis with five bends is a reply in a kind made into a ghazal consisting of five couplets by Mawlana Khalid Baghdadi. The aforementioned ghazal of Mawlana Khalid consists of a nazire written by Hafez Shirazi in a ghazal. This five-point takhmis, which has deep dualistic comparisons in sufi and moral sense and strong implications of these comparisons, is important in terms of thematic form and aesthetics, and it is evident that Mawlana Khalid was influential on Kurdish sufi poets not only in terms of sufism and Mujaddidi-Naqshi but also in terms of literature notable for its demonstration. It also shows a kind of intertextuality extending from Sheikh Mohammad Karbalayi to Mawlana Khalid and from him to Hafez Shirazi. While takhmis shows the intertextuality between these three poets, he also reveals the influence of Hafez Shirazi in classical Kurdish sufi literature. The message that all three mentioned poets want to give in this ghazal is joy from the integrity of meaning, good and bad, precious and worthless, beautiful and ugly, etc. includes propositions. In the content of the takhmis, the permanence of the minimum moral values that should be in the person is mentioned. It has been mentioned that the evils and apparent beauties that will tear a person away from his good spirit are formal. The idea that two genders that are the same in appearance will not be the same in essence has been worked out. Thus, the difference between outward and inward, which forms the basis of sufism, has been pointed out by considering the dualistic debate framework. In this study, a sufistic and literary analysis of a poem that was ended with a takhmis by Sheikh Mohammad Karbalayi was made. The interaction between these three poets has been examined with an interdisciplinary approach. In this study, sufistic and literary classical commentary methods were followed. In the study, first of all, the structural aspects of estimation and dualistic comparison features are discussed. Then, the transcription and translation of a total of twenty-five verses, each of which consists of five lines, was made. In the commentary part, which constitutes the main part of the study, the focus is on the meaning rather than the grammatical features of the couplets and lines and their lexicon. In this section, each verse has been handled separately, and attention has been drawn to verses and hadiths or religious references, if any, without disturbing the general texture of the paragraph. Classical beliefs and creeds have been explained, and especially sufistic images have been emphasized. If it is included in a bend or couplet, mythological narratives, ancient beliefs, the life, and identity of the people mentioned or whose names are mentioned are also briefly mentioned. After the annotation part of each subordinate, its literary points are stated. In this part, reference, inspiration, metaphor, innuendo, pun, sheci and so on. Ma'ani, badi' and declarative type of literary wit are indicated. Thus, a kind of anatomy of the aforesaid takhmis has been put forward and presented to the use of researchers in the history and literature of sufism.
