{"id":1090,"date":"2012-05-11T02:33:00","date_gmt":"2012-05-11T02:33:00","guid":{"rendered":"http:\/\/localhost:8080\/ini\/?p=300"},"modified":"2012-05-11T02:33:00","modified_gmt":"2012-05-11T02:33:00","slug":"ace-kulturel-varlklar","status":"publish","type":"post","link":"https:\/\/guneydoguasyacalismalari.com\/indonesia\/ace-kulturel-varlklar\/","title":{"rendered":"A\u00e7e'de K\u00fclt\u00fcrel Varl\u0131klar"},"content":{"rendered":"

<\/p>\n

<\/h3>\n
A\u00e7e, Malaka Bo\u011faz\u0131 giri\u015finde sahip oldu\u011fu co\u011frafi konum itibariyle y\u00fczy\u0131llar boyunca \u00e7e\u015fitli uluslar\u0131n ve k\u00fclt\u00fcrlerin kar\u015f\u0131l\u0131kl\u0131 ileti\u015fimine konu olmu\u015f bir y\u00f6redir.  Bir ba\u015fka deyi\u015fle, A\u00e7e halk\u0131, \u0130slam\u2019a muhalif olmad\u0131\u011f\u0131 s\u00fcrece yabanc\u0131 k\u00fclt\u00fcrlere ho\u015fg\u00f6r\u00fc g\u00f6stermi\u015f bir toplumdur. A\u00e7e k\u00fclt\u00fcr ya\u015fam\u0131 Hintliler, Araplar, Acemler, Malaylar ve Caval\u0131lar gibi yerli ve yabanc\u0131 unsurlar\u0131n ili\u015fkilerinin sonucu olarak \u00e7e\u015fitlilik arz eder. B\u00fct\u00fcn bu farkl\u0131 k\u00fclt\u00fcrel olgular\u0131n birle\u015fmesi sonucu y\u00fczy\u0131llar sonunda \u201cFarkl\u0131l\u0131klar\u0131n B\u00fct\u00fcnl\u00fc\u011f\u00fc\u201d ortaya \u00e7\u0131kar. Bu k\u00fclt\u00fcrel dokunun \u00e7ok say\u0131da \u00f6rne\u011fini bug\u00fcn A\u00e7e\u2019nin \u00e7e\u015fitli b\u00f6lgelerinde g\u00f6rmek m\u00fcmk\u00fcn. Beyt\u00fcrrahman Camii, Indrapuri Camii, Kandang XII, Gampung Pande Sultan Mezarlar\u0131, Indrapatra Kalesi, Bitay Mezarl\u0131\u011f\u0131, Malahayati Mezarl\u0131\u011f\u0131, Kerkhop, Darul Kemal Sultan Mezarl\u0131\u011f\u0131, Cakra Donya, A\u00e7e M\u00fczesi, Ali Ha\u015fimi K\u00fct\u00fcphanesi, Dayah Tanoh Abee K\u00fct\u00fcphanesi gibi dikkat \u00e7eken mek\u00e2nlardan sadece birka\u00e7\u0131na de\u011finece\u011fiz.<\/div>\n
A\u00e7e\u2019nin \u0130slam \u00f6ncesi tarihinden kalan \u00f6nemli bir yap\u0131 olan Indrapuri Camii\u2019dir. Bu yap\u0131n\u0131n, A\u00e7e\u2019de kurulan ilk Hindu krall\u0131klar\u0131ndan birine ait bir tap\u0131nakt\u0131r. \u0130slam\u2019\u0131n b\u00f6lgeye yerle\u015fmesiyle birlikte camiye \u00e7evrilen yap\u0131, tipik Hindu tap\u0131naklar\u0131n\u0131n mimari \u00f6zelli\u011fini sergilemesi bak\u0131m\u0131ndan ve caminin bulundu\u011fu sahan\u0131n ah\u015fap in\u015fa tekni\u011finin g\u00fczel bir \u00f6rne\u011fi olmas\u0131 bak\u0131m\u0131ndan dikkat \u00e7ekicidir.[1]<\/a><\/div>\n
Banda A\u00e7e, s\u00f6m\u00fcrge d\u00f6nemini ya\u015fam\u0131\u015f bir merkez olmas\u0131 dolay\u0131s\u0131yla s\u00f6m\u00fcrgecilerin k\u00fclt\u00fcr varl\u0131klar\u0131na y\u00f6nelik y\u0131k\u0131mlar\u0131n\u0131 yak\u0131ndan ya\u015fam\u0131\u015f olan bir yerdir. Hollandal\u0131lar, \u00f6rne\u011fin 1880\u2019li y\u0131llarda son A\u00e7e sultanlar\u0131na ait saraylar\u0131 y\u0131k\u0131p, yerine s\u00f6m\u00fcrge valili\u011fine ait binalar in\u015fa edildi. 800 y\u0131ll\u0131k bir ge\u00e7mi\u015fi olan Beyt\u00fcrrahman Camii, gene Hollandal\u0131larca yak\u0131lm\u0131\u015f ve 1875 y\u0131l\u0131nda yeniden in\u015fa edildi. Bu son in\u015fas\u0131 ile Beyt\u00fcrrahman Endonezya\u2019daki mimari tarz\u0131n \u00f6nemli \u00f6rneklerinden birini olu\u015fturur. <\/div>\n
Banda A\u00e7e\u2019deki \u015fehir m\u00fczesinde bulunan devasa \u00e7an, \u00c7in \u0130mparatorlu\u011fu\u2019nun Ming Hanedanl\u0131\u011f\u0131\u2019ndan Amiral Cheng Ho\u2019nun 1414 y\u0131l\u0131nda b\u00f6lgeye yapt\u0131\u011f\u0131 ziyaret s\u0131ras\u0131nda hediye etti\u011fi \u00e7and\u0131r.[2]<\/a>Sultan \u0130skender Muda taraf\u0131ndan e\u015fi i\u00e7in yapt\u0131rd\u0131\u011f\u0131 ileri s\u00fcr\u00fclen ve k\u00fc\u00e7\u00fck bir saray\u0131 and\u0131ran ve geometrik mimarisi ile dikkat \u00e7eken Gunungan,<\/i> \u015fehirde g\u00f6r\u00fclebilecek ender eserlerdendir.[3]<\/a><\/div>\n
Banda A\u00e7e\u2019deki k\u00fclt\u00fcrel ve tarihi mirasa dair \u00f6nemli unsurlardan biri de T\u00fcrk k\u00f6ylerinde bulunan mezarl\u0131klard\u0131r. Alimlerin ve sultanlar\u0131n mezarlar\u0131n\u0131n bulundu\u011fu ifade edilen bu kabristanlar da tsunamiden b\u00fcy\u00fck \u00f6l\u00e7\u00fcde etkilenmi\u015ftir. \u00d6zellikle Gampung Pande k\u00f6y\u00fcnde bulunan \u00fc\u00e7 farkl\u0131 mezar kompleksi Sultan Mezarlar\u0131 ad\u0131yla an\u0131l\u0131r. S\u00f6m\u00fcrge d\u00f6neminin dini-k\u00fclt\u00fcrel miras\u0131n\u0131n bir par\u00e7as\u0131 olan \u015eah Kuala\u2019ya (\u00f6. 1693) ait mezar, \u015fehir merkezinden yakla\u015f\u0131k bir mil uzakl\u0131ktad\u0131r. <\/div>\n
Prof. Dr. Ali Ha\u015fimi K\u00fct\u00fcphanesi, Banda A\u00e7e\u2019nin k\u00fclt\u00fcr hayat\u0131nda \u00f6nemli bir yere sahiptir. Ya\u015fad\u0131\u011f\u0131 d\u00f6nemde A\u00e7e tarihi, T\u00fcrkler ve T\u00fcrkiye \u00fczerine \u00e7al\u0131\u015fmalar yapm\u0131\u015f olan Prof. Ali Ha\u015fimi ad\u0131na kurulmu\u015f olan bu k\u00fct\u00fcphane sahip oldu\u011fu \u00f6nemli kitaplar\u0131n yan\u0131 s\u0131ra, Ali Ha\u015fimi\u2019nin \u00f6zel e\u015fyalar\u0131n\u0131n sergilendi\u011fi bir etnografya m\u00fczesi g\u00f6r\u00fcn\u00fcm\u00fcndedir. <\/div>\n
Banda A\u00e7e\u2019de, Felemenk\u00e7e\u2019de mezarl\u0131k anlam\u0131na gelen Kerkhop<\/i> denilen mezarl\u0131kta, \u2018A\u00e7e Sava\u015f\u0131\u2019nda (1873-1903) hayat\u0131n\u0131 kaybeden yakla\u015f\u0131k 2000 Hollandal\u0131 askerin mezar\u0131 bulunuyor.<\/div>\n
Dil ve Edebiyat<\/h5>\n
A\u00e7e halk\u0131 iki dilli halk olarak bilinir. Endonezya devletinin resmi dili olan Endonezyaca\u2019n\u0131n yan\u0131 s\u0131ra, A\u00e7elilerin ana dili olan A\u00e7ece halk aras\u0131nda yayg\u0131n bir \u015fekilde kullan\u0131l\u0131r ve b\u00f6lgenin lingua franca<\/i>\u2019s\u0131 kabul edilir. A\u00e7ece, Austronesian<\/i> dil ailesine mensuptur.[4]<\/a><\/div>\n
Eyalet s\u0131n\u0131rlar\u0131 i\u00e7erisinde ya\u015fayan \u00e7e\u015fitli etnik topluluklarda konu\u015fulan diller aras\u0131nda \u015funlar bulunur: A\u00e7ece (b\u00fcy\u00fck \u00e7o\u011funluk taraf\u0131ndan konu\u015fulmaktad\u0131r), Aneuk Jamee dili (G\u00fcney A\u00e7e b\u00f6lgesinde), Gayo dili (Orta, G\u00fcneydo\u011fu ve Do\u011fu A\u00e7e\u2019de), Alas dili (G\u00fcneydo\u011fu A\u00e7e\u2019de), Tamiang dili (Do\u011fu A\u00e7e\u2019de), Simeuleu dili (Simeuleu Adas\u0131\u2019nda) ve Kluet dili (G\u00fcney A\u00e7e\u2019deki Kluet etnik grubunda).[5]<\/a>A\u00e7e dili kendi i\u00e7erisinde birtak\u0131m leh\u00e7elere ayr\u0131lmaktad\u0131r. A\u00e7e Besar, Pidie ve Kuzey A\u00e7e\u2019de kullan\u0131lan leh\u00e7eler buna \u00f6rnek verilebilir. \u0130slam\u2019\u0131n b\u00f6lgeye girmesiyle birlikte s\u00f6z konusu diller Arap alfabesi kullan\u0131lmaya ba\u015fland\u0131. Arap dilinin ge\u00e7mi\u015fte resmi dil olarak kullan\u0131lmas\u0131 \u0130slam\u2019a ba\u011fl\u0131l\u0131\u011f\u0131n bir ifadesi olarak okunabilir. <\/div>\n
Tarihte, Arap\u00e7a yaz\u0131 sistemi olan ve Melayu Arabic<\/i> olarak bilinen Javi<\/i> dili kullan\u0131ld\u0131. K\u00fclt\u00fcr\u00fcn \u00f6nemli unsurlar\u0131ndan olan dini ilimleri konu alan eserler, halk hik\u00e2yeleri ve mezar ta\u015flar\u0131 Arap\u00e7a ve Javi dilindedir. A\u00e7e\u2019nin, gerek d\u00fcnyevi gerekse dini a\u00e7\u0131dan b\u00fcy\u00fck geli\u015fmeler kaydetti\u011fi ve G\u00fcneydo\u011fu Asya\u2019n\u0131n \u00f6nemli bir \u0130slam \u00f6\u011fretim merkezi oldu\u011fu 17. y\u00fczy\u0131lda, alimler taraf\u0131ndan Arap\u00e7a\u2019n\u0131n yan\u0131 s\u0131ra, Malayca\u2019n\u0131n bilim dili olarak kullan\u0131ld\u0131. Bu d\u00f6nemde saray \u00e7evresinde de Malayca\u2019n\u0131n hakimiyetinden s\u00f6z edilir. Bu durum, A\u00e7e etnik dilinin de\u011fil de, Malaycan\u0131n kullan\u0131lm\u0131\u015f olmas\u0131, A\u00e7e\u2019nin b\u00f6lgedeki bilimsel geli\u015fmelerdeki rol\u00fcn\u00fc ortaya koymas\u0131 a\u00e7\u0131s\u0131ndan dikkat \u00e7ekicidir.[6]<\/a><\/div>\n

A\u00e7e Tarihinde Hik\u00e2yelerin Yeri      <\/h3>\n
Halk hik\u00e2yeleri A\u00e7e k\u00fclt\u00fcr\u00fc
\nn\u00fcn vazge\u00e7ilmez \u00f6gelerindendir. S\u00f6z konusu hik\u00e2yeler, b\u00f6lgedeki yerel dillerin varl\u0131klar\u0131n\u0131 s\u00fcrd\u00fcrebilmelerinde \u00f6nemli bir fakt\u00f6r olmu\u015f ve halk danslar\u0131nda ve g\u00fczel sanatlarda da etkileri g\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Genelde A\u00e7e halk hikayeleri, Hikayat Perang Sabih<\/i>, Hikayat Aceh Barulkarim<\/i>, Hikayat Tungku Malam<\/i>\u2019da oldu\u011fu \u00fczere \u0130slam \u00f6\u011fretisinin dile getirili\u015fini sembolize eder. S\u00f6zl\u00fc k\u00fclt\u00fcr\u00fcn yayg\u0131n oldu\u011fu bir iklim ku\u015fa\u011f\u0131nda bulunan A\u00e7e\u2019nin tarihsel birikiminin ipu\u00e7lar\u0131n\u0131 s\u00f6z konusu hik\u00e2yelerde bulmak m\u00fcmk\u00fcn. Yani A\u00e7elilerin toplumsal haf\u0131zas\u0131 hik\u00e2yelerde i\u00e7kindir.  <\/div>\n
A\u00e7e, Gayo, Jamee, Tamiang ve Simeuleu yerel dillerinde toplam seksen halk hik\u00e2yesi oldu\u011fu biliniyor. Ancak modern ileti\u015fim ara\u00e7lar\u0131n\u0131n g\u00fcndeme gelmesiyle yava\u015f yava\u015f hikaye anlat\u0131c\u0131lar\u0131na olan ilgide azalma oldu\u011fu da bir ger\u00e7ek. Hik\u00e2yeler \u0130slam \u00f6ncesi d\u00f6neme, \u015eaman\u0131n toplumda \u00f6nemli bir yere sahip oldu\u011fu zamana kadar uzanmaktad\u0131r. \u00d6rne\u011fin, Bat\u0131\u2019daki fabl edebi t\u00fcr\u00fcne benzer \u015fekilde, bir maymunun ki\u015file\u015ftirilmesine dayanan Adoman<\/i>, ya da bir aslan\u0131n ki\u015file\u015ftirilmesine dayanan Periedende<\/i>isimli hik\u00e2yeler gibi, karde\u015fli\u011fe vurgu yapan Imo<\/i> ve Sihitam Pekat<\/i>(Gayo hik\u00e2yeleri) bunlardan sadece birka\u00e7\u0131d\u0131r. \u0130slam\u2019\u0131n kabul edilmesinden sonra Paya Terbang<\/i>, Sepatah Kata Sekati Emas<\/i>, Putri Parakisan<\/i> gibi moral de\u011ferlere dayanan hikayeler g\u00fcndeme gelmi\u015ftir. <\/div>\n
Hikayat<\/i> ad\u0131 verilen bu edebi anlat\u0131larda tarihi olaylar, ger\u00e7ekler veya imgesel hikayeler ritmik bir s\u00f6yleyi\u015f i\u00e7eren dizeler \u015feklinde dile getirilmektedir. B\u00fct\u00fcn bu anlat\u0131larda Kur\u2019an\u2019dan ya da hadislerden mutlaka bir dini mesaja yer verilmektedir. Pek \u00e7ok hik\u00e2yenin orijinal metni Arap\u00e7a kaydedilmi\u015f olmakla birlikte yazarlar\u0131 bilinmemektedir. <\/div>\n
S\u00f6z konusu hik\u00e2yelerden halk aras\u0131nda en iyi bilineni Hikayat Perang Sabih<\/i>(Kutsal Sava\u015f Hik\u00e2yesi)\u2019dir. A\u00e7e Edebiyat uzmanlar\u0131 yapt\u0131klar\u0131 kar\u015f\u0131la\u015ft\u0131rmal\u0131 edebiyat \u00e7al\u0131\u015fmalar\u0131 ile bu hik\u00e2yenin yazar\u0131n\u0131n Tengku Cik Di Tiro\u2019nun yak\u0131n bir arkada\u015f\u0131 olan Teungku Cik Pante Kulu oldu\u011funa karar vermi\u015flerdir. Bu eser, Hollandal\u0131lara kar\u015f\u0131 giri\u015filen ve yakla\u015f\u0131k 70 y\u0131l s\u00fcren sava\u015fta -kimi eserlerde 40 y\u0131l s\u00fcrd\u00fc\u011f\u00fc ifade edilmektedir- m\u00fccadele ruhunu desteklemi\u015f ve halk\u0131n cesaretini art\u0131rm\u0131\u015ft\u0131r. Bu hik\u00e2ye halk aras\u0131nda \u00f6ylesine tesirli olmu\u015ftur ki, Hollandal\u0131lar\u0131n s\u00f6m\u00fcrge y\u00f6netimi bu hikayenin anlat\u0131lmas\u0131n\u0131 yasaklam\u0131\u015ft\u0131r.[7]<\/a><\/div>\n
Geleneksel T\u00f6renler<\/h5>\n
A\u00e7e\u2019nin k\u00fclt\u00fcrel yap\u0131s\u0131nda \u0130slam\u2019\u0131n \u00f6nemli bir etkisi vard\u0131r. Ancak, \u0130slam \u00f6ncesinde b\u00f6lgede hakim olan Hinduizm\u2019in etkisini de, \u00f6zellikle geleneksel t\u00f6renlerde g\u00f6rmek m\u00fcmk\u00fcnd\u00fcr. <\/div>\n
\u0130slam\u2019a ba\u011fl\u0131l\u0131klar\u0131 ile tan\u0131nan A\u00e7elilerin toplum ya\u015fam\u0131nda birtak\u0131m \u00f6nemli d\u00f6n\u00fcm noktalar\u0131 vard\u0131r. Do\u011fum, s\u00fcnnet, ergenlik, evlilik ve \u00f6l\u00fcm gibi olaylar \u00f6nemli t\u00f6renlerle kutlan\u0131r. \u00d6zellikle evlilik merasimleri toplum i\u00e7in h\u00e2l\u00e2 \u00f6nemli t\u00f6renler aras\u0131ndad\u0131r. Ayr\u0131ca, atalar\u0131n an\u0131s\u0131na, ya\u015fanan fel\u00e2ketlerin y\u0131l d\u00f6n\u00fcmlerinde, pirin\u00e7 hasad\u0131 \u00f6ncesinde ve Hz. Muhammed\u2019in do\u011fum y\u0131ld\u00f6n\u00fcm\u00fcnde \u00e7e\u015fitli t\u00f6renler d\u00fczenlenir.[8]<\/a><\/div>\n
Dini bayramlar \u00f6ncesinde ba\u015fkent Banda A\u00e7e\u2019de ve k\u0131rsal kesimde \u00f6nemli kutlamalar yap\u0131lmaktad\u0131r. Bu t\u00f6renlere her okul kendi \u00f6zel k\u0131yafetleri ile kat\u0131lmakta; \u00f6\u011frenciler ellerinde tuttuklar\u0131 me\u015faleler ile gecenin karanl\u0131\u011f\u0131n\u0131 ayd\u0131nlatmaktad\u0131r. Her okulun bir m\u00fczik ekibi bulunmakta; bu m\u00fczik ekibi arabalar\u0131n arkalar\u0131nda konu\u015flanm\u0131\u015f vaziyette ellerindeki geleneksel b\u00fcy\u00fck davullar ve tefler e\u015fli\u011finde dini m\u00fczik icra ederler. <\/div>\n
A\u00e7e\u2019de 50 civar\u0131nda dans \u00e7e\u015fidi, 20 kadar m\u00fczik t\u00fcr\u00fc, 20 edebiyat formu ve 9 geleneksel sanat vard\u0131r.[9]<\/a>  Bir s\u00f6yle\u015fi tarz\u0131 olan pantun<\/i> halk e\u011flencesi de A\u00e7e\u2019deki geleneksel t\u00f6renlerdendir. <\/div>\n

Geleneksel Danslar<\/h3>\n
A\u00e7e geleneksel halk danslar\u0131 \u0130slam k\u00fclt\u00fcr\u00fcnden, erken d\u00f6nemlere ait rit\u00fcellerden, dans-m\u00fczik ve edebiyat\u0131n kombinasyonundan  etkilenmi\u015ftir. Tekrara ve monoton fiziksel hareketlere yer verilen ve uzun s\u00fcren danslar sadece s\u0131n\u0131rl\u0131 mek\u00e2nlarda ve belirli sosyal gruplar i\u00e7inde icra edilir. Bu etkinliklerde \u00e7e\u015fitli telli, vurmal\u0131 \u00e7alg\u0131lar kullan\u0131l\u0131r. Bunlar aras\u0131nda yerli bir enstr\u00fcman olmas\u0131 nedeniyle \u2018arbab<\/i>\u2019 \u00f6nem ta\u015f\u0131r.[10]<\/a><\/div>\n
A\u00e7e\u2019de g\u00f6r\u00fclen m\u00fczikli danslar\u0131n b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fc dini ve milli i\u00e7eriklidir. 1981 y\u0131l\u0131nda yap\u0131lan bir ara\u015ft\u0131rma sonucunda A\u00e7e\u2019de 52 geleneksel dans oldu\u011fu tespit edilmi\u015ftir. Bunlar aras\u0131nda en \u00e7ok tan\u0131nanlar\u0131 seudati<\/i> ve saman<\/i>\u2019d\u0131r. <\/div>\n
Seudati<\/i> isimli dans ayn\u0131 zamanda, el hareketlerine dayal\u0131 olmas\u0131ndan \u00f6t\u00fcr\u00fc, \u201cbin el dans\u0131\u201d olarak da bilinir. Bu dans, b\u00fcy\u00fck \u00f6l\u00e7\u00fcde Ortado\u011fu k\u00fclt\u00fcr\u00fcnden etkilenmi\u015ftir. Erkekler taraf\u0131ndan icra edilen Seudati Agam<\/i> ve kad\u0131nlar taraf\u0131ndan icra edilen Seudati Inong<\/i> olmak \u00fczere iki t\u00fcr\u00fc vard\u0131r. Endonezya\u2019n\u0131n ba\u015fka b\u00f6lgelerinde g\u00f6r\u00fclmeyecek bir nitelik ta\u015f\u0131yan bu dans\u0131n k\u00f6kenlerinin T\u00fcrklere veya Ortado\u011fululara dayand\u0131\u011f\u0131 tahmin edilmektedir.<\/div>\n
Saman<\/i>, yan yana dizilmi\u015f halde oturan \u00e7ok say\u0131da dans\u00e7\u0131 taraf\u0131ndan icra edilmektedir. Dans s\u0131ras\u0131nda s\u00f6ylenen dizelerde g\u00fczel ve faydal\u0131 davran\u0131\u015flar \u00f6n pl\u00e2na \u00e7\u0131kart\u0131l\u0131r. Ramphak<\/i> isimli dans ise Hollandal\u0131lar ile yap\u0131lan sava\u015fa i\u015ftirak eden kad\u0131n kahramanlar\u0131 konu al\u0131r. Rapa\u2019i<\/i> dans\u0131 ise b\u00fcy\u00fck tamburlar e\u015fli\u011finde ger\u00e7ekle\u015ftirilmekte ve bir t\u00fcr zikir niteli\u011fi ta\u015f\u0131maktad\u0131r. Rapa\u2019i dans\u0131n\u0131n en bilinen formu rapa\u2019i<\/i> ile saman<\/i> danslar\u0131n\u0131n birle\u015fmesinden olu\u015fan Rapa\u2019i Geleng<\/i> dans\u0131d\u0131r. G\u00fcney A\u00e7e\u2019ye \u00f6zg\u00fc Pho<\/i> ve Orta A\u00e7e\u2019ye \u00f6zg\u00fc Bines<\/i> danslar\u0131 da, \u0130slam \u00f6ncesi d\u00f6neme ait mit ve efsanelere dayanan danslard\u0131r.<\/div>\n
G\u00fczel Sanatl
\nar<\/h5>\n
A\u00e7e halk\u0131 dekorasyon, el i\u015f\u00e7ili\u011fi, mimari ve dokumac\u0131l\u0131kta maharet sahibidir. Oymac\u0131l\u0131k ve kaligrafi, kamu mimarisi ve \u00f6zel mimaride dikkat \u00e7eken unsurlardand\u0131r. Bu s\u00fcslemelerde ilgin\u00e7 olan, A\u00e7elilerin hi\u00e7bir hayvan veya insan fig\u00fcr\u00fcne yer vermemi\u015f olmalar\u0131d\u0131r.<\/div>\n
Rencong<\/i> denilen geleneksel silah, metal i\u015f\u00e7ili\u011finin nadide bir \u00f6rne\u011fidir. 16. y\u00fczy\u0131ldan itibaren A\u00e7e\u2019de, Arap alfabesinin ilk harfi olan \u2018Elif\u2019 \u015feklinde \u00fcretilen bir t\u00fcr han\u00e7ere benzeyen, \u00fczerinde \u00e7e\u015fitli Arap\u00e7a ifadelerin ve s\u00fcslemelerin bulundu\u011fu rencong<\/i>erkeklerin geleneksel olarak ta\u015f\u0131d\u0131klar\u0131 bir silaht\u0131r.[11]<\/a><\/div>\n
G\u00fcn\u00fcm\u00fczde hediyelik e\u015fya olarak sat\u0131lan bu silah\u0131n 16. y\u00fczy\u0131lda A\u00e7e\u2019ye gelip yerle\u015fen Osmanl\u0131 sava\u015f uzmanlar\u0131nca geli\u015ftirildi\u011fi ifade edilmektedir. Rencong<\/i>, tarihte \u00f6zellikle sultanlar\u0131n ve yerel y\u00f6neticilerin kulland\u0131\u011f\u0131, \u00fczerinde Kur\u2019an\u2019dan ayetler yaz\u0131l\u0131 olan kama \u015feklindeki silaht\u0131r.[12]<\/a>Yak\u0131n d\u00f6nemlere kadar erkeklerin bellerinde ta\u015f\u0131d\u0131klar\u0131 da ifade edilir.<\/div>\n
E\u011fitim<\/h5>\n
A\u00e7e \u0130slam\u2019la tan\u0131\u015ft\u0131ktan sonra, \u0130slam d\u00fcnyas\u0131n\u0131n \u00e7e\u015fitli yerlerinden gelen alimleri bar\u0131nd\u0131rd\u0131. Bu ba\u011flamda, A\u00e7e\u2019de belli ba\u015fl\u0131 zaviyelerin kuruldu\u011fu bilinir. Bunlar\u0131n en ba\u015f\u0131nda gelenler ise Selimium<\/i> ve Gampung Pitai<\/i> zaviyeleridir. G\u00fcn\u00fcm\u00fcze de\u011fin uzanan bir ba\u015fka k\u00f6kl\u00fc e\u011fitim kurumu ise pesantren<\/i> olarak adland\u0131r\u0131lan dini e\u011fitim veren kurumlard\u0131r. A\u00e7e\u2019de her k\u00f6yde bir cami ve dayah<\/i> denilen \u0130slami e\u011fitim kurumlar\u0131 bulunuyor.<\/div>\n
Hollandal\u0131lar\u0131n b\u00f6lgeye n\u00fcfuzu en b\u00fcy\u00fck etkisini e\u011fitim alan\u0131nda g\u00f6stermi\u015ftir. Sek\u00fcler e\u011fitimin yan\u0131 s\u0131ra, Felemenk\u00e7e e\u011fitim veren kurumlar pesantren<\/i>\u2019lere alternatif oldular. Ba\u015fkent Banda A\u00e7e\u2019de, IAIN Ar-Raniri ve \u015eah Kuala olmak \u00fczere iki devlet y\u00fcksek \u00f6\u011fretim kurumunun yan\u0131 s\u0131ra, d\u00f6rt \u00f6zel y\u00fcksek \u00f6\u011fretim kurumu hizmet vermektedir. <\/div>\n

 <\/h3>\n

Mimari<\/h3>\n

Geleneksel A\u00e7e Evi<\/i><\/h3>\n
A\u00e7e\u2019yi ziyaret edenlerin \u00f6zellikle k\u00f6ylerde ilk kar\u015f\u0131la\u015ft\u0131klar\u0131 yap\u0131 geleneksel A\u00e7e evidir. Rumoh Aceh<\/i> denilen klasik A\u00e7e evi, d\u00f6rt veya daha fazla kolon \u00fczerine in\u015fa edilen kare pl\u00e2nl\u0131 ah\u015fap bir ev modeline dayan\u0131r. D\u0131\u015f y\u00fczeyindeki i\u015flemeler ve \u00e7at\u0131 oymac\u0131l\u0131\u011f\u0131nda g\u00f6r\u00fclen ince el i\u015f\u00e7ili\u011fi ile s\u00fcslenmi\u015f olan kl\u00e2sik A\u00e7e evi y\u00fczy\u0131llar sonunda ortaya \u00e7\u0131km\u0131\u015f bir birikimin \u00fcr\u00fcn\u00fcd\u00fcr. <\/div>\n
Rumoh Aceh<\/i> ad\u0131 verilen bu evlerden biri A\u00e7e M\u00fczesi bah\u00e7esinde sergilenmektedir. Bu yap\u0131 2,5-3,5 mt y\u00fcksekli\u011finde olup \u00fc\u00e7 odas\u0131 bulunmaktad\u0131r. \u00d6ndeki oda Ruang Depan, ortadaki oda Tungai ve arka odas\u0131 da Seuramo Likot olarak adland\u0131r\u0131lmaktad\u0131r. Ortada bulunan oda di\u011fer odalardan 50 ila 75 cmdaha y\u00fcksektir.<\/div>\n
Geleneksel A\u00e7e evine ait \u00e7e\u015fitli \u00f6rneklere \u00f6zellikle k\u0131rsal b\u00f6lgelerde rastlamak m\u00fcmk\u00fcn. Bu ba\u011flamda, Banda A\u00e7e \u015fehir merkezine 40 km mesafedeki Selimium\u2019da Dayah Tanoh Abee\u2019deki evler ve 10 km. Mesafedeki Lhokgna\u2019da, 19. y\u00fczy\u0131l sonlar\u0131nda Hollandal\u0131lara kar\u015f\u0131 verilen sava\u015fta \u00f6nemli yararl\u0131l\u0131klar g\u00f6steren Cut Nyak Dhien\u2019e ait olan evdir.[13]<\/a><\/div>\n

Meunasah<\/i><\/h3>\n
A\u00e7e\u2019de dikkati \u00e7eken bir ba\u015fka yap\u0131 ise meunasah<\/i>denilen ve dini mimari \u00f6rne\u011fi olarak dikkat \u00e7eken yap\u0131lard\u0131r. K\u00f6y yerle\u015fimlerinde gerek ibadet i\u00e7in, gerekse gen\u00e7 delikanl\u0131lar\u0131n; e\u015fleri s\u00f6z konusu k\u00f6yde ya\u015famayan erkeklerin geceleyin kald\u0131klar\u0131 ve k\u00f6yde belirli d\u00f6nemlerde d\u00fczenlenen seremonilere ev sahipli\u011fi yapan bir mek\u00e2n i\u015flevi g\u00f6r\u00fcrd\u00fc. Ortak kullan\u0131m mek\u00e2n\u0131 olmas\u0131 dolay\u0131s\u0131yla bir anlamda k\u00f6y odas\u0131 niteli\u011fi ta\u015f\u0131yan meunasah\u2019da[14]<\/a>halk\u0131n bir araya geldi\u011fi ve \u00e7e\u015fitli etkinliklere konu olan bu tip yap\u0131lar\u0131n yerden yakla\u015f\u0131k bir metre kadar y\u00fcksekli\u011finde, ah\u015faptan in\u015fa edilir ve d\u00f6rt yan\u0131 a\u00e7\u0131kt\u0131r. <\/div>\n
Bu geleneksel yap\u0131lar k\u0131rsal b\u00f6lgelerde yo\u011fun olarak g\u00f6r\u00fclmekle birlikte, \u015fehir merkezlerinde de benzer estetikte konut mimarisine rastlamak m\u00fcmk\u00fcnd\u00fcr. A\u00e7eliler, ah\u015fap zevkini betonarme binalara da ta\u015f\u0131maktad\u0131r. Apartman\u0131n bulunmad\u0131\u011f\u0131 A\u00e7e\u2019de m\u00fcstakil evler, muz, bambu vb. tropik a\u011fa\u00e7lar\u0131n bulundu\u011fu bah\u00e7eler i\u00e7erisinde in\u015fa edilmektedir. Yer yer iki katl\u0131 olarak da in\u015fa edilen bu konutlar\u0131n in\u015faat\u0131nda estetik kayg\u0131 \u00f6n pl\u00e2nda tutulmakta ve bu yap\u0131larda i\u00e7 mek\u00e2n son derece ferah bir g\u00f6r\u00fcn\u00fcm arz etmektedir.<\/div>\n
Mezar Ta\u015flar\u0131<\/i><\/div>\n
Bir k\u00fclt\u00fcrel yap\u0131 unsuru olarak an\u0131t mimari i\u00e7erisinde ele al\u0131nabilecek olan mezar ta\u015flar\u0131 tarihi veri olarak \u00f6nemli kaynaklar konumundad\u0131r. \u00d6zellikle \u00fczerlerine kaz\u0131nan kitabeler ile d\u00f6nemler hakk\u0131nda bilgi verdi\u011fi gibi, b\u00f6lgelerin artistik zenginli\u011fine de g\u00f6zler \u00f6n\u00fcne serer. Mezar ta\u015flar\u0131 bak\u0131m\u0131ndan A\u00e7e, b\u00f6lgede dikkat \u00e7ekici bir \u00f6neme sahiptir. \u0130slam medeniyetinin G\u00fcneydo\u011fu Asya\u2019daki varl\u0131\u011f\u0131n\u0131n maddi kan\u0131tlar\u0131 olan en eski mezar ta\u015flar\u0131na A\u00e7e\u2019de rastlan\u0131r.[15]<\/a><\/div>\n
A\u00e7e ta\u015f\u0131 (Batu Aceh<\/i>) Malay d\u00fcnyas\u0131 ve Endonezya Tak\u0131madalar\u0131\u2019nda yayg\u0131n olarak bulunmakla birlikte, Filipinlerin g\u00fcneyinde Sulu Tak\u0131madalar\u0131 ve Borneo k\u0131y\u0131lar\u0131 gibi G\u00fcneydo\u011fu Asya\u2019n\u0131n farkl\u0131 b\u00f6lgelere de ula\u015ft\u0131. Malay d\u00fcnyas\u0131n\u0131n \u00e7e\u015fitli sultanl\u0131klar\u0131nda \u00f6nde gelen sultanlar\u0131n mezar ta\u015flar\u0131, 15. y\u00fczy\u0131l sonlar\u0131 ile 19. y\u00fczy\u0131llar aras\u0131nda A\u00e7e\u2019den temin edilen ta\u015flarla yap\u0131ld\u0131.[16]<\/a>S\u00f6z konusu mezar ta\u015flar\u0131, g\u00fcn\u00fcm\u00fczde G\u00fcneydo\u011fu Asya \u0130slam sanatlar\u0131n\u0131n en nadide
\n\u00f6rnekleri olarak \u00f6nemlerini korumaktad\u0131r.  A\u00e7e mezar ta\u015flar\u0131n\u0131n \u00f6nemi \u015fekilleri, \u00fczerlerine i\u015flenen motifler ve b\u00fcy\u00fckl\u00fckleri bak\u0131m\u0131ndan farkl\u0131l\u0131klar g\u00f6sterir.[17]<\/a>Ayr\u0131ca, Arap kaligrafisiyle yaz\u0131lm\u0131\u015f olan mezar ta\u015f\u0131 kitabeleri ge\u00e7mi\u015ften g\u00fcn\u00fcm\u00fcze aktar\u0131lan en \u00f6nemli bilgiler olma \u00f6zelli\u011fine sahiptir.<\/div>\n

<\/p>\n
\n
[1]<\/a>Buku Objek Peninggalan Sejarah Dan Keperbukalaan Aceh Cab Sikureueng, Tuah Sejati, Banda Aceh, 1988, s. 25. <\/div>\n<\/div>\n
\n
[2]<\/a> Hall, s. 225.<\/div>\n<\/div>\n
\n
[3]<\/a>Rodolphe De Koninck, Aceh In The Time of Iskandar Muda<\/i>, Pusat Dokumentasi Dan Informasi Aceh, Banda Aceh, 1977, s. 2.  <\/div>\n<\/div>\n
\n
[4]<\/a>Mahmud Bangkaru,  A Hand Book To Aceh 1998<\/i>, Aceh: CV Penerbit Balohan Haloban, 1998, s. 13; Watson Barbara Andaya ve Y. Leonard Andaya,  A History of Malaysia<\/i>, London: Macmillan Asian Histories Series, 1986, s. 9.<\/div>\n<\/div>\n
\n
[5]<\/a>Daud, Bukhari, \u201cBahasa dan Sastra Aceh: Milik Siapa?\u201d, Seminar Budaya Pekan Kebudayaan Aceh IV<\/i>, Pusat Kegiatan Akademik Prof. Dr. Dayan Dawood, Universitas Syiah Kuala Darussalam, Banda Aceh, 24-27 A\u011fustos, 2004, s. 1; Holly S. Smith, Aceh -Art and Culture-<\/i>, s. 14; Zainuddin, Tarich Atjeh dan Nusantara<\/i>, s. 116.<\/div>\n<\/div>\n
\n
[6]<\/a>Anthony Reid, An Indonesian Frontier -Acehnese and Other Histories of Sumatra-, s. 98; Eric Eugene Morris, Islam and Politics in Aceh -Study of Center-Periphery Relations in Indonesia<\/i>, s. 23.  <\/div>\n<\/div>\n
\n
[7]<\/a>\u201cHikayat Perang Sabih\u201d isimli s\u00f6z konusu bu hik\u00e2ye d\u00f6rt b\u00f6l\u00fcmden ibarettir: Ainul Mardliyah\u2019\u0131n hik\u00e2yesi, Fil Sava\u015f\u0131 hik\u00e2yesi, Said Samly\u2019nin hik\u00e2yesi ve Muhammad Amin\u2019in hik\u00e2yesi. Bu b\u00f6l\u00fcmlerden birincisi Kur\u2019an\u2019da ve hadislerde ge\u00e7en Hz. Peygamberin Mekke\u2019den Medine\u2019ye hicretinde ya\u015fad\u0131klar\u0131n\u0131 konu almaktad\u0131r. Fil Sava\u015f\u0131 hik\u00e2yesi ise, ad\u0131ndan da anla\u015f\u0131laca\u011f\u0131 \u00fczere, fil ordusu ile Kabe\u2019yi y\u0131kmak \u00fczere harekete ge\u00e7en Eblehe konu edilir.<\/div>\n<\/div>\n
\n
[8]<\/a>Holly S. Smith, Aceh -Art and Culture-<\/i>, s. 25. <\/div>\n<\/div>\n
\n
[9]<\/a> Bangkaru, s. 19.<\/div>\n<\/div>\n
\n
[10]<\/a> A.g.e., s. 22. <\/div>\n<\/div>\n
\n
[11]<\/a>Bahrein T. Sugihen, Socio-Cultural and Attitudinal Change in the Modernization Process: A Study of Acehnese Society in Transition<\/i>, Phd Dissertation, Louisiana State University, 1980, s. 8. <\/div>\n<\/div>\n
\n
[12]<\/a>Bangkaru, s. 21.<\/div>\n<\/div>\n
\n
[13]<\/a>Geleneksel A\u00e7e Evi\u2019yle ilgili ayr\u0131nt\u0131l\u0131 bilgileri \u00e7in bkz.: M. J. Melalatoa, Rivai Abu, (Ed.), Arsitektur Tradisional Propinsi Daerah Istimewa Aceh<\/i>,  Departemen Pendidikan dan Kebudayaan, Pusat Penelitian Sejarah dan Budaya, 1981\/82, Banda A\u00e7e. <\/div>\n<\/div>\n
\n
[14]<\/a>Snouck Hurgronje, The Acehnese<\/i>, \u00c7ev.: A.W. S. O\u2019Sullivan, Cilt 2, E.J.Brill, Leiden, 1906, s. 29. <\/div>\n<\/div>\n
\n
[15]<\/a>Daniel Perret, \u201cAceh as a Field for Ancient History Studies\u201d, First International Conference of Aceh and Indian Ocean Studies<\/i>, 24-27 February, 2007, Banda Aceh, s. 8. <\/div>\n<\/div>\n
\n
[16]<\/a>Othman Mohammad Yatim, Batu Aceh -Early Islamic Gravestones In Peninsular Malaysia-<\/i>, Museum Association of Malaysia, Kuala Lumpur, 1988, s. xxv, 8.<\/div>\n<\/div>\n
\n
[17]<\/a>Daniel Perret, \u201cAceh as a Field for Ancient History Studies\u201d, s. 8; Holly S. Smith, Aceh -Art and Culture-<\/i>, s. 36; Othman Mohammad Yatim, Batu Aceh -Early Islamic Gravestones In Peninsular Malaysia-<\/i>, s. xxvi. <\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

A\u00e7e, Malaka Bo\u011faz\u0131 giri\u015finde sahip oldu\u011fu co\u011frafi konum itibariyle y\u00fczy\u0131llar boyunca \u00e7e\u015fitli uluslar\u0131n ve k\u00fclt\u00fcrlerin kar\u015f\u0131l\u0131kl\u0131 ileti\u015fimine konu olmu\u015f bir y\u00f6redir.  Bir ba\u015fka deyi\u015fle, A\u00e7e halk\u0131, \u0130slam\u2019a muhalif olmad\u0131\u011f\u0131 s\u00fcrece yabanc\u0131 k\u00fclt\u00fcrlere ho\u015fg\u00f6r\u00fc g\u00f6stermi\u015f bir toplumdur. A\u00e7e k\u00fclt\u00fcr ya\u015fam\u0131 Hintliler, Araplar, Acemler, Malaylar ve Caval\u0131lar gibi yerli ve yabanc\u0131 unsurlar\u0131n ili\u015fkilerinin sonucu olarak \u00e7e\u015fitlilik arz […]<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1090","post","type-post","status-publish","format-standard","hentry","category-ace"],"_links":{"self":[{"href":"https:\/\/guneydoguasyacalismalari.com\/indonesia\/wp-json\/wp\/v2\/posts\/1090","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/guneydoguasyacalismalari.com\/indonesia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/guneydoguasyacalismalari.com\/indonesia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/guneydoguasyacalismalari.com\/indonesia\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/guneydoguasyacalismalari.com\/indonesia\/wp-json\/wp\/v2\/comments?post=1090"}],"version-history":[{"count":0,"href":"https:\/\/guneydoguasyacalismalari.com\/indonesia\/wp-json\/wp\/v2\/posts\/1090\/revisions"}],"wp:attachment":[{"href":"https:\/\/guneydoguasyacalismalari.com\/indonesia\/wp-json\/wp\/v2\/media?parent=1090"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/guneydoguasyacalismalari.com\/indonesia\/wp-json\/wp\/v2\/categories?post=1090"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/guneydoguasyacalismalari.com\/indonesia\/wp-json\/wp\/v2\/tags?post=1090"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}