{"id":127177,"date":"2026-07-13T15:00:00","date_gmt":"2026-07-13T12:00:00","guid":{"rendered":"https:\/\/kentyasam.com.tr\/wp\/?p=127177"},"modified":"2026-07-14T01:27:14","modified_gmt":"2026-07-13T22:27:14","slug":"ayvalikta-sanatin-izleri","status":"publish","type":"post","link":"https:\/\/kentyasam.com.tr\/wp\/2026\/07\/13\/ayvalikta-sanatin-izleri\/","title":{"rendered":"Ayval\u0131k’ta sanat\u0131n izleri"},"content":{"rendered":"\n

I\u015eIK TEOMAN – <\/strong>Ayval\u0131k, ge\u00e7ti\u011fimiz g\u00fcnlerde sanat ad\u0131na \u00e7ok \u00f6nemli bir bulu\u015fmaya ev sahipli\u011fi yapt\u0131. Ayval\u0131k Belediyesi’nin “K\u00fcresel ve \u00c7a\u011fda\u015f K\u00fclt\u00fcr Sanat A\u00e7\u0131l\u0131m\u0131” kapsam\u0131nda d\u00fczenledi\u011fi etkinliklerde, \u00e7a\u011fda\u015f sanat\u0131n \u00f6nemli isimleri Bedri Baykam<\/strong>, Yusuf Taktak<\/strong> ve Emre Zeytino\u011flu<\/strong>, Orhan Peker<\/strong> Sanat Galerisi’nde sanatseverlerle bulu\u015ftu. <\/p>\n\n\n

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Vural Sinemas\u0131 Nejat Uygur<\/strong> Sahnesi’nde ger\u00e7ekle\u015ftirilen “Sanat\u0131m\u0131z\u0131n G\u00fcncel G\u00f6r\u00fcnt\u00fcs\u00fc” ba\u015fl\u0131kl\u0131 s\u00f6yle\u015fiyle ba\u015flayan etkinlikler “Uzun Yol” sergisiyle devam etti. Beral Madra<\/strong>‘n\u0131n moderat\u00f6rl\u00fc\u011f\u00fcndeki s\u00f6yle\u015fide sanat\u0131n d\u00fcn\u00fc, bug\u00fcn\u00fc ve gelece\u011fi \u00fczerine \u00f6nemli de\u011ferlendirmeler yap\u0131ld\u0131. \u00d6te yandan \u201cUzun Yol\u201d sergisi kap\u0131lar\u0131n\u0131 sanatseverlerin muhte\u015fem ilgisiyle a\u00e7t\u0131. Birbirinden de\u011ferli eserlerin yer ald\u0131\u011f\u0131 galeri ilgi oda\u011f\u0131 oldu. Bu etkinlikleri izlerken akl\u0131ma \u015fu soru tak\u0131ld\u0131: <\/p>\n\n\n\n

\u201cAyval\u0131k ger\u00e7ekten ne zamandan beri bir sanat kenti?\u201d<\/em><\/p>\n\n\n\n

Bu sorunun pe\u015fine d\u00fc\u015f\u00fcnce, yol bizi Cumhuriyet d\u00f6neminin de \u00f6ncesine, m\u00fcbadele y\u0131llar\u0131na kadar g\u00f6t\u00fcr\u00fcyor. 19. y\u00fczy\u0131ldan ba\u015flayarak Ayval\u0131k yaln\u0131zca zeytin, zeytinya\u011f\u0131, sabun gibi ticaretin ve denizcili\u011fin de\u011fil, k\u00fclt\u00fcr ve sanat\u0131n da \u00f6nemli merkezlerinden biri olmu\u015f. Kent sanat\u00e7\u0131 yeti\u015ftirmi\u015f, sanat\u00e7\u0131lar\u0131 kendine \u00e7ekmi\u015f ve farkl\u0131 k\u00fclt\u00fcrlerin bir arada \u00fcretti\u011fi zengin bir sanat iklimi olu\u015fturmu\u015f. Ayval\u0131k\u2019ta do\u011fup b\u00fcy\u00fcyen sanat\u00e7\u0131lar\u0131n yan\u0131 s\u0131ra k\u0131sa s\u00fcreli kalanlar, evlenip kente yerle\u015fenler, yaz tatillerinde gelenler, ka\u00e7arcas\u0131na gidenler de olmu\u015f.<\/p>\n\n\n\n

Ayval\u0131k’tan D\u00fcnyaya Uzanan Sanat\u00e7\u0131<\/strong><\/p>\n\n\n\n

Bu sanat yolculu\u011funun ilk b\u00fcy\u00fck isimlerinden biri, Ayval\u0131k do\u011fumlu ressam, yazar ve ikonograf (*) Fotis Kontoglou<\/strong>. 1895 y\u0131l\u0131nda Ayval\u0131k’ta d\u00fcnyaya g\u00f6zlerini a\u00e7an Fotis Kontoglou, Paris’te sanat e\u011fitimi ald\u0131ktan sonra yeniden memleketine d\u00f6nm\u00fc\u015f, burada \u00f6\u011fretmenlik yapm\u0131\u015f ve daha sonra Yunanistan’da Bizans ikonografisinin en \u00f6nemli temsilcilerinden biri h\u00e2line gelmi\u015f. Bal\u0131k\u00e7\u0131l\u0131k yapan babas\u0131, o daha bebekken vefat etti\u011fi i\u00e7in ilk tuvallerinde imza olarak babas\u0131n\u0131n ismi olan Apostolelis\u2019i kullanm\u0131\u015f.\u00a0<\/p>\n\n\n\n

Ayval\u0131k\u2019taki Gymnasium\u2019da (Eski Ayval\u0131k Akademisi) okuyan Kontoglou, Paris\u2019ten 1919\u2019da Ayval\u0131k\u2019a d\u00f6nd\u00fc\u011f\u00fcnde, m\u00fcbadeleye kadar k\u0131zlara e\u011fitim veren bir okulda Frans\u0131zca ve sanat dersleri vermi\u015f. 1922\u2019de Yunanistan\u2019a giderek Aya Oros Manast\u0131r\u0131\u2019nda (Athos Da\u011flar\u0131) Bizans ikonografisi \u00f6\u011frenerek bu geleneksel sanat\u0131 resimlerinde modernle\u015ftirmi\u015f. M\u00fcbadele\u2019den \u00f6nceki Ayval\u0131k ile ilgili yapt\u0131\u011f\u0131 \u00e7al\u0131\u015fmalar\u0131 1962\u2019de yay\u0131nlad\u0131ktan 3 y\u0131l sonra 1965\u2019te bir trafik kazas\u0131nda vefat etmi\u015f. Fotis Kontoglou, do\u011fup b\u00fcy\u00fcd\u00fc\u011f\u00fc bu kenti hi\u00e7bir zaman unutmam\u0131\u015f eserlerinde Ayval\u0131k’\u0131n izleri ya\u015fam\u0131 boyunca hi\u00e7 silinmemi\u015f.<\/p>\n\n\n\n

Venezis \u00e7ocuklu\u011funu Ayval\u0131k\u2019ta ge\u00e7irdi <\/strong><\/p>\n\n\n\n

\u0130lias Venezis<\/strong> 1904 y\u0131l\u0131nda Ayval\u0131k\u2019ta do\u011fmu\u015f ve burada lise e\u011fitimini tamamlam\u0131\u015f. Kurtulu\u015f Sava\u015f\u0131 (1919-1922) s\u0131ras\u0131nda ailesiyle birlikte Ayval\u0131k\u2019tan Midilli\u2019ye g\u00f6\u00e7 etmi\u015f. Yunan askerlerinin 1919\u2019da \u0130zmir\u2019i i\u015fgalinden sonra Anadolu topraklar\u0131na tekrar d\u00f6nm\u00fc\u015f. B\u00f6lge, sonras\u0131nda T\u00fcrk ordusu taraf\u0131ndan geri al\u0131nd\u0131\u011f\u0131nda, Venezis, 18 ya\u015f\u0131ndayken esir al\u0131nm\u0131\u015f. Venezis, serbest b\u0131rak\u0131ld\u0131ktan sonra Midilli\u2019ye geri d\u00f6nm\u00fc\u015f. 1938\u2019de Ayval\u0131kl\u0131 Stavritsa Molyviati ile evlenmi\u015f. En \u00fcnl\u00fc ve en iyi \u00fc\u00e7 roman\u0131; \u201cEolya Topra\u011f\u0131\u201d, \u201cNumero 31328\u201d ve \u201cDinginlik\u201d. \u00c7ocuklu\u011funu Ayval\u0131k’ta ge\u00e7iren Venezis, m\u00fcbadele ve sava\u015f y\u0131llar\u0131n\u0131n ac\u0131lar\u0131n\u0131 eserlerine ta\u015f\u0131m\u0131\u015f. \u00d6zellikle \u201cEolya Topra\u011f\u0131\u201d roman\u0131, eski Ayval\u0131k’\u0131n insan\u0131n\u0131, do\u011fas\u0131n\u0131 ve ya\u015fam k\u00fclt\u00fcr\u00fcn\u00fc bug\u00fcn bile canl\u0131 bi\u00e7imde anlatan en \u00f6nemli eserlerden biri olarak kabul edilir.<\/p>\n\n\n\n

Ege belle\u011finde f\u0131r\u00e7as\u0131ndan \u00e7\u0131kan Ayval\u0131k manzaralar\u0131<\/strong><\/p>\n\n\n\n

Yolu Ayval\u0131k\u2019tan sessizce ge\u00e7en ama eserlerinde Ayval\u0131k\u2019\u0131 g\u00f6rsel ve sanatsal olarak not d\u00fc\u015fm\u00fc\u015f ressam ve heykelt\u0131ra\u015f Fuad Mensi Dileksiz<\/strong> Ayval\u0131k’\u0131n do\u011fal g\u00fczelliklerini tuvallerine yans\u0131tm\u0131\u015f.\u00a0 Soyad\u0131 Kanunu \u00e7\u0131kt\u0131\u011f\u0131nda kimseden bir \u015fey beklemeyen felsefesini yans\u0131tacak \u015fekilde “Dileksiz” soyad\u0131n\u0131 se\u00e7en Fuad Mensi, ya\u015fam\u0131 boyunca kay\u0131tlara girmekten ve \u00f6n planda olmaktan ka\u00e7\u0131nm\u0131\u015f. \u00d6mr\u00fcn\u00fcn son demlerini ge\u00e7irdi\u011fi Tire sokaklar\u0131ndaki izlerini ve Ege’yi (\u00f6zellikle Ayval\u0131k ve \u00e7evresini) resmetti\u011fi tablolar\u0131n\u0131 b\u0131rakm\u0131\u015f. Fuad Mensi Dileksiz\u2019in Ege belle\u011finde b\u0131rakt\u0131\u011f\u0131 en zarif izlerden biri f\u0131r\u00e7as\u0131ndan \u00e7\u0131kan Ayval\u0131k manzaralar\u0131d\u0131r.<\/p>\n\n\n\n

Ayval\u0131k\u2019tan ka\u00e7an ressamlar da var<\/strong><\/p>\n\n\n\n

Fikret Muall\u00e2<\/strong>\u2019n\u0131n yolu 1930\u2019lu y\u0131llar\u0131n ba\u015f\u0131nda Ayval\u0131k\u2019a d\u00fc\u015fm\u00fc\u015f. Yurt d\u0131\u015f\u0131ndaki e\u011fitiminden sonra \u0130stanbul\u2019a d\u00f6nen Fikret Muall\u00e2, ciddi bir ge\u00e7im s\u0131k\u0131nt\u0131s\u0131 ve i\u015fsizlik \u00e7ekiyor. Ge\u00e7imini sa\u011flayabilmek ad\u0131na Mill\u00ee E\u011fitim Bakanl\u0131\u011f\u0131 taraf\u0131ndan Ayval\u0131k Ortaokulu\u2019na resim \u00f6\u011fretmeni olarak atan\u0131yor. O d\u00f6nem Ayval\u0131k, zeytinya\u011f\u0131 ve sabun \u00fcretimiyle sanayile\u015fmi\u015f, sinemas\u0131 ve tiyatrosu olan canl\u0131 bir kent; ancak Muall\u00e2 gibi ruhu her an f\u0131rt\u0131nal\u0131, alkolle ve derin yaln\u0131zl\u0131klarla bo\u011fu\u015fan bir sanat\u00e7\u0131 i\u00e7in bir s\u00fcre sonra dar gelmeye ba\u015flar.\u00a0<\/p>\n\n\n\n

Anlat\u0131lanlara g\u00f6re, okul y\u00f6netimi ve m\u00fclki amirlerle anla\u015famam\u0131\u015f. \u0130stifa dahi etmeden, her \u015feyi arkas\u0131nda b\u0131rakarak bir gemiye binip \u0130stanbul\u2019a ka\u00e7m\u0131\u015f. Ayval\u0131k’ta resim \u00f6\u011fretmenli\u011fi yapt\u0131\u011f\u0131 bu \u00e7ok k\u0131sa d\u00f6nem, onun resmi olarak bir kuruma ba\u011fl\u0131 \u00e7al\u0131\u015ft\u0131\u011f\u0131 nadir zamanlardan biri olarak tarihe ge\u00e7mi\u015f. Arkas\u0131nda ise “Ayval\u0131k’a gelen de\u011fil, Ayval\u0131k’tan ka\u00e7an ressam” f\u0131kras\u0131n\u0131 and\u0131ran bu ho\u015f an\u0131y\u0131 b\u0131rakm\u0131\u015f. “Elektri\u011fi olmayan \u015fehirde resim hocas\u0131na da ihtiya\u00e7 yoktur” s\u00f6z\u00fc ise bug\u00fcn h\u00e2l\u00e2 anlat\u0131l\u0131yor.<\/p>\n\n\n\n

Orhan Peker Ayval\u0131k sevdal\u0131s\u0131yd\u0131<\/strong><\/p>\n\n\n\n

Ayval\u0131k denince akla gelen en \u00f6nemli ressamlardan biri de ku\u015fkusuz Orhan Peke<\/strong>r\u2019dir. 1975 y\u0131l\u0131nda yolu Ayval\u0131k’la kesi\u015fen sanat\u00e7\u0131, burada \u00fcretti\u011fi eserlerle kentin sanat belle\u011fine \u00f6nemli katk\u0131lar sunmu\u015f. Ayval\u0131kl\u0131 yazar Zeynep Kazanc\u0131gil<\/strong>, \u201cEski Ayval\u0131k Hikayeleri\u201d kitab\u0131nda, Orhan Peker\u2019in Ayval\u0131k g\u00fcnlerini \u015f\u00f6yle anlatm\u0131\u015f:\u00a0<\/p>\n\n\n\n

\u201cOrhan Peker\u2019in Ayval\u0131k sevdas\u0131 1970\u2019lerde Bodrum\u2019a giderken Ayval\u0131k\u2019a u\u011fray\u0131p annemle babam\u0131 ziyaret etmesiyle ba\u015flar. Orhan Peker annemin G\u00fczel Sanatlar Akademisi\u2019nden s\u0131n\u0131f arkada\u015f\u0131yd\u0131, dostluklar\u0131 \u00f6m\u00fcr boyu s\u00fcrd\u00fc. Y\u0131llar i\u00e7inde babamla da yak\u0131n bir dostluk kurmu\u015ftu. Birka\u00e7 g\u00fcn i\u00e7in ziyarete geldi\u011fi Ayval\u0131k ve Ayval\u0131kl\u0131lar Orhan Peker\u2019i \u00e7ok sever. Burada Ayval\u0131k\u2019\u0131n en renkli simalar\u0131ndan birisiydi diyebilece\u011fim G\u00f6n\u00fcl Karaca ile tan\u0131\u015f\u0131r ve 1976 y\u0131l\u0131nda evlenirler. Orhan Peker\u2019in 1978\u2019deki vefat\u0131na kadar k\u0131sa ama g\u00fczel bir hayatlar\u0131 olur. G\u00f6n\u00fcl Han\u0131m Ayval\u0131k\u2019\u0131n i\u00e7inde aileden kalma tarihi bir yal\u0131da oturuyordu. Orhan Peker de bu eve yerle\u015fti. G\u00f6n\u00fcl Han\u0131m yal\u0131n\u0131n alt kat\u0131n\u0131 tamamen Orhan Peker\u2019e at\u00f6lye olarak tahsis etti. Orhan Peker \u00e7ok yaz\u0131 Ayval\u0131k\u2019ta ge\u00e7irdi. Ay\u00e7i\u00e7eklerini, kumrular\u0131, atlar\u0131 ve at arabalar\u0131n\u0131, kedileri konu ald\u0131\u011f\u0131 en g\u00fczel resimlerini burada yapt\u0131\u2026\u201d<\/em><\/p>\n\n\n\n

Orhan Peker, ya\u015fad\u0131\u011f\u0131 y\u0131llarda Ayval\u0131k’ta bir \u201cYaz Akademisi\u201d kurmay\u0131 hayal etmi\u015f. Bu hayalini ger\u00e7ekle\u015ftiremeden ya\u015fam\u0131n\u0131 yitirse de bug\u00fcn ad\u0131n\u0131 ta\u015f\u0131yan sanat galerisi, onun b\u0131rakt\u0131\u011f\u0131 miras\u0131 ya\u015fatmaya devam ediyor.<\/p>\n\n\n\n

Asl\u0131nda b\u00fct\u00fcn bu isimler, Ayval\u0131k’\u0131n sanat haf\u0131zas\u0131n\u0131n yaln\u0131zca g\u00f6r\u00fcnen k\u0131sm\u0131. Yap\u0131lan ara\u015ft\u0131rmalara g\u00f6re kentte bug\u00fcn onlarca ressam, heykelt\u0131ra\u015f, yazar, m\u00fczisyen, foto\u011fraf sanat\u00e7\u0131s\u0131 ve seramik sanat\u00e7\u0131s\u0131 ya\u015fam\u0131n\u0131 s\u00fcrd\u00fcr\u00fcyor. Sanat galerileri, tiyatro sahneleri, sanat dernekleri ve at\u00f6lyeler her ge\u00e7en y\u0131l art\u0131yor. Farkl\u0131 \u015fehirlerden gelen sanat\u00e7\u0131lar da Ayval\u0131k’\u0131 \u00fcretim merkezi olarak tercih ediyor. Bu nedenle Ayval\u0131k’\u0131 yaln\u0131zca zeytinin, ta\u015f evlerin ya da denizin kenti olarak tan\u0131mlamak \u00e7ok eksik kal\u0131r. Ayval\u0131k ayn\u0131 zamanda ya\u015fayan bir sanat kentidir.<\/p>\n\n\n\n

Yakla\u015f\u0131k iki y\u00fczy\u0131ld\u0131r ressamlar\u0131n, yazarlar\u0131n, \u015fairlerin, m\u00fczisyenlerin ve zanaatk\u00e2rlar\u0131n iz b\u0131rakt\u0131\u011f\u0131 bu co\u011frafya, ge\u00e7mi\u015finden ald\u0131\u011f\u0131 k\u00fclt\u00fcrel miras\u0131 gelece\u011fe ta\u015f\u0131may\u0131 s\u00fcrd\u00fcr\u00fcyor. Bug\u00fcn d\u00fczenlenen sergiler ve k\u00fclt\u00fcr sanat etkinlikleri de asl\u0131nda yeni bir ba\u015flang\u0131\u00e7 de\u011fil; y\u00fczy\u0131llard\u0131r devam eden g\u00fc\u00e7l\u00fc bir sanat gelene\u011finin do\u011fal devam\u0131d\u0131r.<\/p>\n\n\n\n

Ayval\u0131k’\u0131n ger\u00e7ek zenginli\u011fi yaln\u0131zca ta\u015f binalar\u0131nda ya da e\u015fsiz do\u011fas\u0131nda de\u011fil, bu topraklarda ya\u015fam\u0131\u015f ve \u00fcretmi\u015f sanat\u00e7\u0131lar\u0131n b\u0131rakt\u0131\u011f\u0131 izlerdedir. O izleri takip ettik\u00e7e, Ayval\u0131k’\u0131n neden her d\u00f6nem sanat\u00e7\u0131lar i\u00e7in vazge\u00e7ilmez bir ilham kayna\u011f\u0131 oldu\u011funu daha iyi anl\u0131yoruz. <\/p>\n\n\n\n

KAYNAK\u00c7A:<\/strong><\/p>\n\n\n\n

– Zeynep Kazanc\u0131gil\/Eski Ayval\u0131k Hikayeleri (Nisan 2026 Birinci Bas\u0131m)<\/strong><\/p>\n\n\n\n

– Ayval\u0131k Miras, \u201cSanat ve Zanaat\u201d https:\/\/www.ayvalikmiras.com\/ayvalik-miras\/sanat-zanaat\/<\/strong><\/p>\n\n\n\n

(*) Sanat metinleri ve g\u00f6rsel simgeleri inceleyen bilim dal\u0131 olan ikonografi alan\u0131nda \u00e7al\u0131\u015fan sanat\u00e7\u0131)<\/strong><\/p>\n

Related Images:<\/h3>","protected":false},"excerpt":{"rendered":"

I\u015eIK TEOMAN – Ayval\u0131k, ge\u00e7ti\u011fimiz g\u00fcnlerde sanat ad\u0131na \u00e7ok \u00f6nemli bir bulu\u015fmaya ev sahipli\u011fi yapt\u0131. Ayval\u0131k Belediyesi’nin “K\u00fcresel ve \u00c7a\u011fda\u015f K\u00fclt\u00fcr Sanat A\u00e7\u0131l\u0131m\u0131” kapsam\u0131nda d\u00fczenledi\u011fi […]<\/a><\/p>\n<\/div>","protected":false},"author":1,"featured_media":127181,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[22],"tags":[],"_links":{"self":[{"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/posts\/127177"}],"collection":[{"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/comments?post=127177"}],"version-history":[{"count":6,"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/posts\/127177\/revisions"}],"predecessor-version":[{"id":127186,"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/posts\/127177\/revisions\/127186"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/media\/127181"}],"wp:attachment":[{"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/media?parent=127177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/categories?post=127177"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kentyasam.com.tr\/wp\/wp-json\/wp\/v2\/tags?post=127177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}