{"id":14435,"date":"2024-01-15T01:33:11","date_gmt":"2024-01-15T00:33:11","guid":{"rendered":"https:\/\/www.yvar-bregeant.com\/?p=14435"},"modified":"2024-01-27T21:10:44","modified_gmt":"2024-01-27T21:10:44","slug":"ana-tanrica-kultu-ve-comelme-pozisyonunda-temsil-edilmesinin-nedeni","status":"publish","type":"post","link":"https:\/\/www.yvar-bregeant.com\/tr\/ana-tanrica-kultu-ve-comelme-pozisyonunda-temsil-edilmesinin-nedeni\/","title":{"rendered":"ANA TANRI\u00c7A K\u00dcLT\u00dc VE \u00c7\u00d6MELME POZI\u0307SYONUNDA TEMSI\u0307L EDI\u0307LMESI\u0307NI\u0307N NEDENI\u0307"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"14435\" class=\"elementor elementor-14435 elementor-13929\" data-elementor-post-type=\"post\">\n\t\t\t\t<div class=\"elementor-element elementor-element-16523c0 e-con-full e-flex e-con e-parent\" data-id=\"16523c0\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t<div class=\"elementor-element elementor-element-335c207 e-con-full e-flex e-con e-child\" data-id=\"335c207\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-5b03147 elementor-widget__width-initial elementor-widget elementor-widget-theme-post-featured-image elementor-widget-image\" data-id=\"5b03147\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"theme-post-featured-image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"156\" height=\"224\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image33.png\" class=\"attachment-large size-large wp-image-14319\" alt=\"\" \/>\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\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5224169 elementor-widget elementor-widget-text-editor\" data-id=\"5224169\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h3><span style=\"color: #000000;\">BU MAKALENI\u0307N AMACI<\/span><\/h3>\n<p><span style=\"color: #000000;\">Bu makale, Ana Tanr\u0131\u00e7a ve b\u00fcy\u00fck tanr\u0131lar\u0131n neden \u00e7\u00f6melmi\u015f bir pozisyonda temsil edildi\u011fini anlaman\u0131za yard\u0131mc\u0131 olacakt\u0131r: <\/span><\/p>\n<p><span style=\"color: #000000;\">Ya\u015fayanlar\u0131n d\u00fcnyas\u0131na bereket ve her \u015feyden \u00f6nce \u00f6l\u00fclere yeniden do\u011fu\u015f getirme g\u00fc\u00e7lerine olan inan\u00e7la ba\u011flant\u0131. <\/span><\/p>\n<p><span style=\"color: #000000;\">Bu temsil ile s\u0131v\u0131lar\u0131n sembolik kategorisi aras\u0131ndaki yak\u0131n ba\u011f\u0131 da g\u00f6rece\u011fiz.<\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7649f26 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"7649f26\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-471177f elementor-toc--minimized-on-tablet elementor-widget elementor-widget-table-of-contents\" data-id=\"471177f\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;exclude_headings_by_selector&quot;:[],&quot;headings_by_tags&quot;:[&quot;h2&quot;,&quot;h3&quot;,&quot;h4&quot;,&quot;h5&quot;,&quot;h6&quot;],&quot;marker_view&quot;:&quot;numbers&quot;,&quot;no_headings_message&quot;:&quot;No headings were found on this page.&quot;,&quot;minimize_box&quot;:&quot;yes&quot;,&quot;minimized_on&quot;:&quot;tablet&quot;,&quot;hierarchical_view&quot;:&quot;yes&quot;,&quot;min_height&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;min_height_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;min_height_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"table-of-contents.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-toc__header\">\n\t\t\t\t\t\t<h6 class=\"elementor-toc__header-title\">\n\t\t\t\t\u0130\u00e7indekiler tablosu\t\t\t<\/h6>\n\t\t\t\t\t\t\t\t\t\t<div class=\"elementor-toc__toggle-button elementor-toc__toggle-button--expand\" role=\"button\" tabindex=\"0\" aria-controls=\"elementor-toc__471177f\" aria-expanded=\"true\" aria-label=\"Open table of contents\"><i aria-hidden=\"true\" class=\"fas fa-chevron-down\"><\/i><\/div>\n\t\t\t\t<div class=\"elementor-toc__toggle-button elementor-toc__toggle-button--collapse\" role=\"button\" tabindex=\"0\" aria-controls=\"elementor-toc__471177f\" aria-expanded=\"true\" aria-label=\"Close table of contents\"><i aria-hidden=\"true\" class=\"fas fa-chevron-up\"><\/i><\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<div id=\"elementor-toc__471177f\" class=\"elementor-toc__body\">\n\t\t\t<div class=\"elementor-toc__spinner-container\">\n\t\t\t\t<i class=\"elementor-toc__spinner eicon-animation-spin eicon-loading\" aria-hidden=\"true\"><\/i>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-20edccd elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"20edccd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-a2dcc85 e-flex e-con-boxed e-con e-parent\" data-id=\"a2dcc85\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b867006 elementor-widget elementor-widget-text-editor\" data-id=\"b867006\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h3><span style=\"color: #000000;\">BU MAKALEYI\u0307 &#8220;I\u0307NSANLIK DI\u0307NLERI\u0307NI\u0307N GER\u00c7EK TARI\u0307HI\u0307&#8221; ADLI EDEBI\u0307 DI\u0307ZI\u0307NI\u0307N TAMAMIYLA I\u0307LI\u0307\u015eKI\u0307LENDI\u0307RI\u0307N.<\/span><\/h3>\n<\/p>\n<p>Bu makale, yine bu sitede bulunan Volume kitab\u0131ndan al\u0131nt\u0131d\u0131r:<\/p>\n<p>Tarih \u00f6ncesi ve antik mitolojik din sembol\u00fc \u0130ncil<\/p>\n<p>Kitap ayn\u0131 zamanda makale formunda da mevcuttur:<\/p>\n<p><a href=\"https:\/\/www.yvar-bregeant.com\/tr\/semboller-sozlugu\/\">Semboller s\u00f6zl\u00fc\u011f\u00fc<\/a><\/p>\n<p>Bu kitab\u0131n neden \u0130nsanl\u0131k Dinlerinin Ger\u00e7ek Tarihi adl\u0131 edebi dizinin bir par\u00e7as\u0131 oldu\u011funu \u00f6\u011frenmek i\u00e7in \u015fu adrese gidin:<\/p>\n<p><a href=\"https:\/\/www.yvar-bregeant.com\/tr\/giris-yapi-ve-icerik\/\">Giri\u015f \/ Yap\u0131 ve i\u00e7erik<\/a><\/p>\n<p>A\u015fa\u011f\u0131da tamam\u0131na ula\u015fabilece\u011finiz bu makaleyi keyifle okuyaca\u011f\u0131n\u0131z\u0131 umuyorum.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-73d1cb4 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"73d1cb4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-1d8bf63 e-flex e-con-boxed e-con e-child\" data-id=\"1d8bf63\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f8a2382 elementor-widget elementor-widget-text-editor\" data-id=\"f8a2382\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h2 style=\"text-align: left;\"><span style=\"color: #000000;\">\u00c7\u00d6MELEN ANA TANRI\u00c7ANIN SEMBOLI\u0307ZMI\u0307<\/span><\/h2><p>\u00a0<\/p><p>Bu sembolizm, paganizmin k\u00f6kenindeki tarih \u00f6ncesi mitolojik dinin ana \u00f6\u011fretisiyle tamamen uyumludur; bu din, D\u00fcnya&#8217;n\u0131n Ana Tanr\u0131\u00e7as\u0131 haline gelen ilkel insan annenin, t\u00fcm adanm\u0131\u015flar\u0131na ve tap\u0131nanlar\u0131na yeniden hayat verebilece\u011fine ve onlar\u0131 yeniden do\u011furabilece\u011fine inan\u0131rd\u0131. Ana tanr\u0131\u00e7an\u0131n kendi kocas\u0131n\u0131 \u00f6l\u00fcm\u00fcnden sonra yeniden do\u011furdu\u011fu ve onun bir tanr\u0131sall\u0131\u011fa d\u00f6n\u00fc\u015fmesini, tanr\u0131lar\u0131n babas\u0131 olmas\u0131n\u0131 (ve hatta insanl\u0131\u011fa rehber olarak hizmet etmeye devam etmek i\u00e7in o\u011flunun bedenine girerek yery\u00fcz\u00fcnde kalmas\u0131n\u0131) sa\u011flad\u0131\u011f\u0131 s\u00f6ylenirdi.<\/p><p>\u00c7\u00f6melmi\u015f tanr\u0131\u00e7an\u0131n bu sembolizmi, bu dinin ana tanr\u0131\u00e7an\u0131n rahmini temsil etmek i\u00e7in kulland\u0131\u011f\u0131 bir\u00e7ok ana matris sembol\u00fcnden (yerler ve nesneler) biridir; bu semboller &#8220;Tarih \u00f6ncesi ve antik mitolojik din sembollerinin Kutsal Kitab\u0131&#8221; ba\u015fl\u0131kl\u0131 3. ciltte kapsaml\u0131 bir \u015fekilde listelenmi\u015f ve analiz edilmi\u015ftir\/edilecektir.<\/p><p>\u00c7\u00f6melen tanr\u0131\u00e7an\u0131n sembolizmi de s\u0131v\u0131lar\u0131n sembolizmiyle yak\u0131ndan ili\u015fkilidir.<\/p><p>Hat\u0131rlatmak gerekirse, 2. ciltte de a\u00e7\u0131kland\u0131\u011f\u0131 ve detayland\u0131r\u0131ld\u0131\u011f\u0131 \u00fczere, ana tanr\u0131\u00e7a s\u0131fat\u0131yla tanr\u0131lar\u0131n babas\u0131n\u0131 yeniden canland\u0131rabilece\u011fi ve o\u011ful tanr\u0131ya hayat verebilece\u011fi \u00f6\u011fretilmi\u015ftir, \u00e7\u00fcnk\u00fc o\u011ful tanr\u0131 mesih, rehber ve ayn\u0131 zamanda kurtar\u0131c\u0131 g\u00fcce sahipti, O\u011ful-Tanr\u0131&#8217;n\u0131n kurtar\u0131c\u0131 g\u00fcc\u00fcne sahip olarak g\u00f6r\u00fclmeye ba\u015fland\u0131 ve sadece D\u00fcnya&#8217;da bolluk ve bereket de\u011fil, ayn\u0131 zamanda ve hepsinden \u00f6nemlisi \u00f6b\u00fcr d\u00fcnyada \u00f6l\u00fcms\u00fczl\u00fck de verebiliyordu. Bunu anlamak \u00f6nemlidir, \u00e7\u00fcnk\u00fc ana tanr\u0131\u00e7an\u0131n kendisinin rahminin meyvesi, rahminden \u00e7\u0131kan et yoluyla \u00f6l\u00fcms\u00fczl\u00fck verebilece\u011fine dair bu inanc\u0131n, hayati s\u0131v\u0131lar\u0131n\u0131n adanm\u0131\u015flar\u0131 taraf\u0131ndan do\u011frudan emilmesinin (kurtar\u0131c\u0131 o\u011fuldan ge\u00e7mek yerine) \u00f6l\u00fcms\u00fczl\u00fck verebilece\u011fine dair inanc\u0131 a\u00e7\u0131klayan \u015fey oldu\u011funu anlaman\u0131n anahtar\u0131d\u0131r.<\/p><p>Bu \u015fekilde, hayati s\u0131v\u0131lar\u0131 D\u00fcnya&#8217;da sadece bolluk ve bereket s\u0131v\u0131lar\u0131yla de\u011fil, ayn\u0131 zamanda ve hepsinden \u00f6nemlisi \u00f6l\u00fcms\u00fczl\u00fck iksirleriyle e\u015fanlaml\u0131 hale geldi.<\/p><p>Burada da 2. cilt, tarih \u00f6ncesi mitolojik dinlerde ana tanr\u0131\u00e7an\u0131n v\u00fccudundan gelen farkl\u0131 v\u00fccut s\u0131v\u0131lar\u0131n\u0131 t\u00fcm gizemleriyle temsil etmek i\u00e7in kullan\u0131lan \u00e7e\u015fitli sembollerin kapsaml\u0131 bir listesini ve analizini sunacakt\u0131r (burada sadece bir \u00f6rnek olarak, b\u00fcy\u00fck tanr\u0131sall\u0131\u011f\u0131n idrar\u0131n\u0131 temsil eden bira sembolizminden bahsedebiliriz ). <a href=\"#_ftn1\" name=\"_ftnref1\">[1]<\/a><\/p><p>\u00c7\u00f6melmi\u015f tanr\u0131\u00e7an\u0131n bu sembolizminin el sembolizmiyle \u00e7ok yak\u0131ndan ba\u011flant\u0131l\u0131 oldu\u011funu anlamak da \u00e7ok \u00f6nemlidir, \u00e7\u00fcnk\u00fc el sembolizmi en \u00e7ok anlaml\u0131 sembolizmlerden biri olsa bile, en \u00f6nemli sembolizmlerinden biridir. Bunu, \u00f6zellikle de bir\u00e7ok tap\u0131na\u011f\u0131n mimarisinin ve s\u00fcslemelerinin varl\u0131k nedenini anlamak s\u00f6z konusu oldu\u011funda tekrar tekrar g\u00f6rece\u011fiz. \u00c7\u00f6melmi\u015f tanr\u0131\u00e7a ile el sembolizmi aras\u0131ndaki ba\u011flant\u0131 bu makalede de\u011fil, ileride ayr\u0131 bir makalede ele al\u0131nacakt\u0131r.<\/p><p>\u00a0<\/p><h2><span style=\"color: #000000;\">\u00c7\u00d6MELME VE (YENIDEN) DO\u011eUM ARASINDAKI BA\u011eLANTI<\/span><\/h2><p>\u00a0<\/p><p>B\u00fcy\u00fck tanr\u0131sall\u0131\u011f\u0131n yenilenirken ya da do\u011fururken (ister b\u00fcy\u00fck tanr\u0131ya ister ona tapanlara) ya da d\u00fcnyevi bolluk s\u0131v\u0131lar\u0131n\u0131 veya \u00f6l\u00fcms\u00fczl\u00fck iksirini da\u011f\u0131t\u0131rken \u00e7\u00f6melme pozisyonunda temsil edilmesinin basit nedeni, eski zamanlarda \u00e7\u00f6melme pozisyonunun do\u011fum yapmak i\u00e7in tercih edilen pozisyon olmas\u0131d\u0131r.<\/p><p>Bu nedenle ana tanr\u0131\u00e7ay\u0131 bu konumda temsil etmek do\u011fal hale geldi, sadece do\u011furmak ve rahminin meyvesi olan mesih-o\u011flunu d\u00fcnyaya vermek i\u00e7in de\u011fil, ayn\u0131 zamanda \u00f6l\u00fclere yeniden hayat vermek ve bolluk ve \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fcn hayati s\u0131v\u0131lar\u0131n\u0131 yaymak i\u00e7in.<\/p><p>Bunu g\u00f6steren birka\u00e7 \u00f6rne\u011fe bir g\u00f6z atal\u0131m.<\/p><p>\u00a0<\/p><h2><span style=\"color: #000000;\">\u00c7\u00d6MELME VE DO\u011eUM ARASINDAKI\u0307 I\u0307LI\u0307\u015eKI\u0307<\/span><\/h2><p>\u00a0<\/p><p>\u00d6ncelikle \u00e7\u00f6melme pozisyonunun do\u011fum pozisyonu oldu\u011funu g\u00f6steren birka\u00e7 \u00f6rne\u011fe bakal\u0131m.<\/p><p>\u00a0<\/p><h3><span style=\"color: #000000;\"><a style=\"color: #000000;\" name=\"_Toc83502501\"><\/a>MISIR&#8217;DA<\/span><\/h3><p>\u00a0<\/p><p>\u00d6rne\u011fin, annelik ve do\u011fum tanr\u0131\u00e7alar\u0131 olan M\u0131s\u0131r tanr\u0131\u00e7alar\u0131 Hathor ve Tawaret hakk\u0131nda okuyabilecekleriniz burada:<\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-13940\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image1.png\" alt=\"\" width=\"229\" height=\"131\" \/><\/p><p><a href=\"https:\/\/agoraafricaine.info\/2016\/12\/13\/la-deesse-hathor-et-la-deesses-taweret-etaient-les-divinites-de-la-maternite-et-de-laccouchement\/\"><em>https:\/\/agoraafricaine.info\/2016\/12\/13\/la-deesse-hathor-et-la-deesses-taweret-etaient-les-divinites-de-la-maternite-et-de-laccouchement\/<\/em><\/a><\/p><p><em>&#8220;Eski M\u0131s\u0131r&#8217;\u0131n Dendera kompleksindeki tap\u0131na\u011f\u0131n kabartmalar\u0131nda, do\u011fumun <strong>iki fig\u00fcr\u00fc olan tanr\u0131\u00e7a Hathor ve tanr\u0131\u00e7a Taweret&#8217;in huzurunda \u00e7\u00f6melmi\u015f pozisyonda do\u011fum yapan bir kad\u0131n tasvir edilmi\u015ftir<\/strong>; Hathor, Annelik, Do\u011furganl\u0131k ve di\u015fil a\u015fk gibi pek \u00e7ok \u00e7a\u011fr\u0131\u015f\u0131ma sahip eski bir pop\u00fcler tanr\u0131yd\u0131, bu nedenle eski M\u0131s\u0131rl\u0131lar bu tanr\u0131n\u0131n Kad\u0131nlar\u0131n ve \u00c7ocuklar\u0131n koruyucusu olarak t\u00fcm do\u011fumlara ba\u015fkanl\u0131k etmesi gerekti\u011fine inan\u0131yorlard\u0131, Taweret gibi, ayn\u0131 zamanda Do\u011furganl\u0131k ve Do\u011fum&#8217;un ana tanr\u0131\u00e7as\u0131yd\u0131, bu da eski M\u0131s\u0131r&#8217;da ebe, do\u011fum uzman\u0131 veya jinekolog i\u00e7in neden bilinen hi\u00e7bir kelime olmad\u0131\u011f\u0131n\u0131 a\u00e7\u0131klayabilir&#8221;.<\/em><\/p><p><em>\u00a0<\/em><em>&#8220;<strong>Kad\u0131nlar bebeklerini dizlerinin \u00fczerinde, \u00e7\u00f6melerek <u>ya da <\/u><\/strong>Do\u011fum&#8217;dan bahseden hiyerogliflerde belirtildi\u011fi gibi <strong><u>bir do\u011fum koltu\u011funda do\u011fururken, <\/u><\/strong>buharlar\u0131n do\u011fumu kolayla\u015ft\u0131rmas\u0131 i\u00e7in koltu\u011fun alt\u0131na Bal i\u00e7eren s\u0131cak su konur ve ebeler taraf\u0131ndan Amun&#8217;dan &#8220;do\u011fmam\u0131\u015f \u00e7ocu\u011fu hayatta tutmak i\u00e7in kurtar\u0131c\u0131n\u0131n kalbini g\u00fc\u00e7l\u00fc k\u0131lmas\u0131n\u0131&#8221; isteyenler gibi do\u011fuma yard\u0131mc\u0131 b\u00fcy\u00fcler tekrarlan\u0131rd\u0131.&#8221; <\/em><\/p><p><em>\u00a0<\/em><em><u>&#8220;\u00c7\u00f6melme pozisyonu veya do\u011fum koltu\u011funun kullan\u0131m\u0131 <\/u><\/em><em>eski Afrika geleneklerinde \u00e7ok yayg\u0131n bir y\u00f6ntemdi ve g\u00fcn\u00fcm\u00fczde \u00e7a\u011fda\u015f do\u011fum gelenekleri de, her ikisinin de bu s\u00fcre\u00e7te do\u011fal bir yard\u0131mc\u0131 olarak yer\u00e7ekiminin kullan\u0131m\u0131n\u0131 te\u015fvik etmesi gibi basit bir nedenden \u00f6t\u00fcr\u00fc, \u00e7\u00f6melme pozisyonu veya do\u011fum koltu\u011funun kullan\u0131m\u0131n\u0131 savunmaktad\u0131r.&#8221;<\/em><\/p><p>Tanr\u0131\u00e7a Amam\u00ebt<a href=\"#_ftn2\" name=\"_ftnref2\">[2]<\/a> ve Tanr\u0131\u00e7a Ma\u00e2t<a href=\"#_ftn3\" name=\"_ftnref3\">[3]<\/a> &#8216;\u0131n da \u00e7\u00f6melmi\u015f olarak an\u0131ld\u0131\u011f\u0131na dikkat edin.<\/p><p>\u015eimdiye kadar s\u0131ra d\u0131\u015f\u0131 bir \u015fey olmad\u0131\u011f\u0131n\u0131 s\u00f6yleyebilirsiniz.<\/p><p>Sadece bir do\u011fum muayenehanesiydi.<\/p><p>Ancak tanr\u0131lar\u0131n di\u011fer tasvirlerine bakarsak, bu temsilin tanr\u0131\u00e7alar\u0131n yard\u0131m\u0131yla do\u011fum yapan bir insan\u0131n basit tasvirinin \u00e7ok \u00f6tesine ge\u00e7ti\u011fini g\u00f6rebiliriz.<\/p><p>M\u0131s\u0131r&#8217;da daha \u00f6nce g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi, b\u00fcy\u00fck tanr\u0131lar bu \u015fekilde temsil edilirdi.<\/p><p>\u015eimdi di\u011fer uygarl\u0131klara ve bize yerel tanr\u0131lar hakk\u0131nda verdikleri imgelere d\u00f6nelim.<\/p><p>\u00a0<\/p><h2><span style=\"color: #000000;\">\u00c7\u00d6MELME VE YENIDEN DO\u011eU\u015e ARASINDAKI BA\u011eLANTI<\/span><\/h2><p>\u00a0<\/p><h3><span style=\"color: #000000;\">ELAM&#8217;DA<\/span><\/h3><p>\u00a0<\/p><p>Size Louvre&#8217;da bulunan Elamit delikli bir levha olan bu yap\u0131y\u0131 tan\u0131tarak ba\u015flayay\u0131m.<\/p><p><em> <img decoding=\"async\" class=\"alignnone size-medium wp-image-13957\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image2-267x300.png\" alt=\"\" width=\"267\" height=\"300\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image2-267x300.png 267w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image2.png 416w\" sizes=\"(max-width: 267px) 100vw, 267px\" \/><\/em><\/p><p><em>Mus\u00e9e du Louvre. Louvre&#8217;dan metin: Delikli plaka. Kanatlar\u0131n\u0131 a\u00e7m\u0131\u015f d\u00f6rt kartal; kare \u015feklinde kareler. Alabaster. Susa. Sukkalmah Hanedanl\u0131\u011f\u0131 (M\u00d6 20. y\u00fczy\u0131l ortas\u0131-1500). Foto\u011fraf kayna\u011f\u0131: Yvar Bregeant<\/em><\/p><p><em>\u00a0<\/em>G\u00f6rd\u00fc\u011f\u00fcn\u00fcz gibi kare \u015feklindedir ve kare \u015feklindeki merkezi bir deli\u011fin her iki yan\u0131nda kanatlar\u0131n\u0131 a\u00e7m\u0131\u015f \u00e7\u00f6melmi\u015f d\u00f6rt kartal (asl\u0131nda akbaba) ve her akbaban\u0131n aras\u0131nda \u00e7izgili bir kare bulunmaktad\u0131r.<\/p><p>Bu levhan\u0131n sembolizmini anlamak i\u00e7in kare, delikli ta\u015f, k\u0131r\u0131k s\u00fctun, piramit, da\u011f ve akbaban\u0131n ilgili sembolizmini bilmeniz gerekir.<\/p><p>Bu sembollerin her birinin \u00f6zel anlam\u0131n\u0131 biliyorsan\u0131z, burada bir araya gelmelerinin \u00f6nemini anlayacaks\u0131n\u0131z.<\/p><p>Uzun laf\u0131n k\u0131sas\u0131, buradaki kare, ana tanr\u0131\u00e7an\u0131n bedeninin bir sembol\u00fc olan da\u011f\u0131 temsil etmektedir.<\/p><p>D\u00f6rt \u00e7izgili karenin, yukar\u0131dan bak\u0131ld\u0131\u011f\u0131nda, perspektif olarak, g\u00f6klere do\u011fru y\u00fckselmeyi g\u00f6stermek i\u00e7in g\u00f6ky\u00fcz\u00fcne do\u011fru y\u00fckselen katmanlara sahip piramitleri temsil etti\u011fine dikkat edin. Piramidin kesinlikle da\u011f ile ili\u015fkili oldu\u011funu ve ayn\u0131 zamanda ana tanr\u0131\u00e7an\u0131n bedeninin bir sembol\u00fc oldu\u011funu unutmay\u0131n.<\/p><p>Da\u011f\u0131n Akadca&#8217;da<strong> \u0161adu olarak <\/strong>adland\u0131r\u0131ld\u0131\u011f\u0131n\u0131 hat\u0131rlayal\u0131m<a href=\"#_ftn4\" name=\"_ftnref4\">[4]<\/a> , anlamlar\u0131ndan biri, kelimenin tam anlam\u0131yla, S\u00fcmerce<strong>&#8216;de \u0161a<\/strong><a href=\"#_ftn5\" name=\"_ftnref5\">[5]<\/a> beden, ya\u015fam veren veya ya\u015fam\u0131 geri getiren<a href=\"#_ftn6\" name=\"_ftnref6\"><strong>[6]<\/strong><\/a> rahmi.<\/p><p>Nota Bene:<\/p><p>Bu yeniden do\u011fu\u015f esasen tud ya da tu&#8217;ya e\u015fde\u011fer olan &#8220;d\u00fa&#8221; e\u015fanlaml\u0131s\u0131 taraf\u0131ndan aktar\u0131l\u0131r: do\u011furmak, do\u011furmak, do\u011furulmak, yapmak, \u015fekillendirmek, yaratmak; <u>yeniden do\u011fmak, <\/u>d\u00f6n\u00fc\u015fmek, de\u011fi\u015fmek. Dolay\u0131s\u0131yla d\u00fa ile sadece do\u011fum, \u015fekillenme de\u011fil, ayn\u0131 zamanda yeniden do\u011fu\u015f, yeni bir varl\u0131\u011fa d\u00f6n\u00fc\u015fme, ana tanr\u0131\u00e7an\u0131n bedeni ya da rahmi olan<strong> \u0161a<\/strong>&#8216;ya d\u00f6n\u00fc\u015f yoluyla ger\u00e7ekle\u015fti\u011fi s\u00f6ylenen bir operasyondan daha a\u00e7\u0131k bir soru yoktur.<\/p><p>\u00dczerinde delik bulunan ta\u015f, piramidin i\u00e7inde yeniden canland\u0131r\u0131lmas\u0131 tanr\u0131lar\u0131n babas\u0131 olarak yeniden do\u011fu\u015funu temsil eden ilkel insan\u0131n k\u0131r\u0131k s\u00fctununu temsil etmektedir.<\/p><p>Akbaba, \u00f6l\u00fcmden sonra yeniden do\u011fu\u015f s\u00fcrecine ba\u015fkanl\u0131k eden ki\u015fi rol\u00fcyle ana tanr\u0131\u00e7an\u0131n ba\u015fl\u0131ca temsillerinden biridir.<\/p><p>\u015eimdi, burada kendimizi \u00e7\u00f6melmi\u015f tanr\u0131\u00e7a sembolizmiyle s\u0131n\u0131rlad\u0131\u011f\u0131m\u0131za g\u00f6re, burada neyi fark ediyoruz?<\/p><p>Akbaba tanr\u0131\u00e7an\u0131n \u00e7\u00f6melmi\u015f bedeninin, birincil amac\u0131 yenilenme, ilksel baban\u0131n tanr\u0131lar\u0131n babas\u0131 olarak yeniden do\u011fu\u015fu olan piramidinkiyle do\u011frudan ili\u015fkili bir sembol olmas\u0131.<\/p><p>Hatta akbabalardan ikisi yumurtalar\u0131n\u0131 do\u011frudan onun alt\u0131ndaki iki piramidin i\u00e7ine b\u0131rak\u0131yor gibi g\u00f6r\u00fcn\u00fcyor.<\/p><p>Bu nedenle \u00e7\u00f6melme pozisyonu ile yeniden do\u011fu\u015f aras\u0131nda yak\u0131n bir ba\u011flant\u0131 vard\u0131r. \u00a0<\/p><p>\u00a0<\/p><h3><span style=\"color: #000000;\">G\u0130R\u0130T&#8217;TE<\/span><\/h3><p>\u00a0<\/p><p>M\u0131s\u0131r&#8217;daki Hathor&#8217;da oldu\u011fu gibi Girit&#8217;te de &#8220;<em>B\u00fcy\u00fck Ana Tanr\u0131\u00e7a&#8217;n\u0131n, <\/em>muhtemelen <em>Rhea&#8217;n\u0131n<\/em><a href=\"#_ftn7\" name=\"_ftnref7\"><em><strong>[7]<\/strong><\/em><\/a><em> d\u00f6neme ba\u011fl\u0131 olarak \u00e7\u00f6melmi\u015f ya da ayakta<\/em><a href=\"#_ftn8\" name=\"_ftnref8\"><em><strong>[8]<\/strong><\/em><\/a><em> &#8221; temsil edildi\u011fini belirtmek de <\/em>dikkat \u00e7ekicidir.<\/p><p><em>\u00a0<\/em><\/p><h3><span style=\"color: #000000;\">YUNAN\u0130STAN&#8217;DA<\/span><\/h3><p>\u00a0<\/p><p>Ana tanr\u0131\u00e7an\u0131n bu \u00e7\u00f6melmi\u015f temsilinin anlam\u0131 Yunanistan&#8217;da da bulunabilir.<\/p><p>Ger\u00e7ekten de, Yunan do\u011fum ya da \u00e7ocuk do\u011furma tanr\u0131\u00e7alar\u0131, Hera&#8217;n\u0131n (Yunan ana tanr\u0131\u00e7as\u0131n\u0131n ad\u0131) k\u0131zlar\u0131 olan illythia&#8217;lar\u0131n da \u00e7\u00f6melmi\u015f bir pozisyonda temsil edildikleri unutulmamal\u0131d\u0131r. \u0130llythia&#8217;n\u0131n Hera&#8217;n\u0131n bir kopyas\u0131 olarak da anla\u015f\u0131labilece\u011fi g\u00f6z \u00f6n\u00fcnde bulunduruldu\u011funda, ana tanr\u0131\u00e7an\u0131n da do\u011fum ve do\u011fumun ana tanr\u0131\u00e7as\u0131 olarak \u00e7\u00f6melme pozisyonunda temsil edildi\u011fi a\u00e7\u0131kt\u0131r<a href=\"#_ftn9\" name=\"_ftnref9\">[9]<\/a> .<\/p><p>Bu nedenle illythia kelimesinin S\u00fcmerce etimolojisine bakmak \u00f6zellikle ilgin\u00e7tir<a href=\"#_ftn10\" name=\"_ftnref10\">[10]<\/a> .<\/p><p>Neredeyse sistematik olarak g\u00f6rece\u011fimiz gibi, mitolojik dinin t\u00fcm mistik yap\u0131s\u0131n\u0131n temelini olu\u015fturan S\u00fcmer dilidir.<\/p><p>Asl\u0131nda, onlara neden Illythia ad\u0131n\u0131n verildi\u011fi \u00e7ok a\u00e7\u0131k bir \u015fekilde ortaya \u00e7\u0131kmaktad\u0131r.<\/p><p>\u00a0<\/p><h4><span style=\"color: #000000;\">ILLYTHIA&#8217;NIN S\u00dcMERCE ETIMOLOJISI<\/span><\/h4><p>\u00a0<\/p><p>S\u00fcmerceye \u00e7evirelim:<strong> \u00edli-ti-a <\/strong>:<\/p><p>\u00a0<\/p><h5><span style=\"color: #000000;\"><strong>\u00edli&#8217;nin ET\u0130MOLOJ\u0130S\u0130 <\/strong>:<\/span><\/h5><p><strong>\u00a0<\/strong><\/p><p><strong>\u00edl-l\u00e1<\/strong><a href=\"#_ftn11\" name=\"_ftnref11\">[11]<\/a> y\u00fckselmek anlam\u0131na gelir ve s\u00f6zl\u00fc haliyle \u00edla,<strong> \u00edli, \u00edl<\/strong><a href=\"#_ftn12\" name=\"_ftnref12\"><strong>[12]<\/strong><\/a> kald\u0131rmak, ta\u015f\u0131mak, teslim etmek, getirmek, dayanmak, katlanmak, &#8220;&#8230;&#8221;; y\u00fckselmek; parlamak; <strong>lal, l\u00e1 (<\/strong><strong>la2)<\/strong><a href=\"#_ftn13\" name=\"_ftnref13\"><strong>[13]<\/strong><\/a>\u00a0y\u00fckselmek; tutmak, y\u00fckseltmek, ta\u015f\u0131mak, ask\u0131ya almak anlam\u0131na gelir<\/p><p>Yani, <strong>\u0130li derken<\/strong>, sadece bir ata olarak gebe kalmak anlam\u0131nda ta\u015f\u0131maktan de\u011fil, ayn\u0131 zamanda ilahla\u015ft\u0131rmak anlam\u0131nda ta\u015f\u0131maktan, y\u00fcceltmekten (bir bak\u0131ma y\u00fcceltmekten) bahsediyoruz!<\/p><p>Burada, bu \u00e7e\u015fitli S\u00fcmer logogramlar\u0131n\u0131n (<strong>\u00edl-l\u00e1<\/strong>; fiil formu \u00edla<strong>, \u00edli , \u00edl; lal, l\u00e1 (<\/strong><strong>la2)) <\/strong>tanr\u0131lar\u0131n <strong>&#8216;\u012al&#8217; ve &#8216;\u0112l&#8217; <\/strong>isimlerinin k\u00f6keni olarak kabul edildi\u011fini ve di\u011fer anlamlar\u0131n\u0131n yan\u0131 s\u0131ra &#8216;tanr\u0131&#8217;<a href=\"#_ftn14\" name=\"_ftnref14\">[14]<\/a> anlam\u0131na gelen S\u00fcmerce <strong>\u012aLU <\/strong>kelimesinin kurucu k\u00f6k\u00fc olduklar\u0131n\u0131 belirtmek \u00f6nemlidir.<\/p><p>Bu nedenle iki \u015feyi anlamak \u00e7ok \u00f6nemlidir:<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">Bir \u00e7ocu\u011fu ta\u015f\u0131mak ile onu tan\u0131mlamak aras\u0131ndaki e\u015fde\u011ferlik<\/span><\/h6><p>\u00a0<\/p><p>Bunlardan ilki, Yunanca &#8220;illy&#8221; kelimesinin &#8220;y\u00fckseltmek, ta\u015f\u0131mak&#8221; anlamlar\u0131na gelmesidir:<\/p><ul><li>Sadece do\u011furmak i\u00e7in karn\u0131nda ta\u015f\u0131mak i\u00e7in de\u011fil<\/li><li>Ama ayn\u0131 zamanda ve hepsinden \u00f6nemlisi, y\u00fcceltmek, cennete g\u00f6t\u00fcrmek, parlatmak&#8230; ba\u015fka bir deyi\u015fle, s\u00f6z konusu (yeniden) do\u011fumun nesnesini tanr\u0131la\u015ft\u0131rmak<\/li><\/ul><p>\u00a0<\/p><p><strong>T\u0131pk\u0131 &#8220;kap\u0131 &#8220;n\u0131n bu \u00e7ift anlama sahip olmas\u0131 gibi<\/strong><\/p><p>\u00a0<\/p><p>\u0130lgin\u00e7tir ki<strong> \u00edli<\/strong>, bir kap\u0131n\u0131n \u00e7er\u00e7evesini ya da lentosunu ifade eden S\u00fcmerce <strong>aka4 <\/strong>gibi, hem karn\u0131nda ta\u015f\u0131mak hem de y\u00fcksekte ta\u015f\u0131mak anlam\u0131nda \u00e7ift anlaml\u0131d\u0131r.<\/p><p>Ger\u00e7ekten de, nas\u0131l Frans\u0131zcada &#8220;la porte&#8221; (Latince porta&#8217;dan, &#8220;bir \u015fehrin kap\u0131s\u0131, bir an\u0131t&#8221;, fores ve janua kelimelerinin yerini alm\u0131\u015ft\u0131r) ve ayn\u0131 zamanda &#8220;porter&#8221; (Latince portare&#8217;den) bir <strong>\u00e7ocu\u011fu <\/strong>ta\u015f\u0131mak anlam\u0131nda ve ayn\u0131 zamanda &#8220;ta\u015f\u0131mak, kald\u0131rmak, y\u00fckseltmek&#8221; anlam\u0131nda s\u00f6yl\u00fcyorsak, S\u00fcmercede de aynen b\u00f6yledir.<\/p><p>Ger\u00e7ekten de, S\u00fcmerce&#8217;de <strong>aka4 <\/strong>bir kap\u0131 kasas\u0131 veya lento anlam\u0131na geliyorsa<a href=\"#_ftn15\" name=\"_ftnref15\">[15]<\/a> , bunun seste\u015fi <strong>a-ka&#8217;n\u0131n <\/strong>e\u015fde\u011feri<strong> \u00fagu<\/strong><a href=\"#_ftn16\" name=\"_ftnref16\">[16]<\/a> vard\u0131r ve bunun seste\u015fi<strong> \u00fagu4 <\/strong>(KU) do\u011furmak<a href=\"#_ftn17\" name=\"_ftnref17\">[17]<\/a> \u00fcretmek anlam\u0131na gelir.<\/p><p><em>\u00a0<\/em>Dahas\u0131, <strong>ka <\/strong>ve <strong>ga <\/strong>S\u00fcmercede kesinlikle e\u015fde\u011fer seste\u015f seslerdir ve S\u00fcmer s\u00f6zl\u00fc\u011f\u00fc <strong>ga6 <\/strong>veya <strong>g\u00f9r&#8217;\u00fcn ta\u015f\u0131mak, <\/strong>nakletmek anlam\u0131na gelen fonemler oldu\u011funu belirtirken, ayn\u0131 zamanda S\u00fcmer \u015fehri Umma&#8217;n\u0131n<strong> \u00edla<\/strong><a href=\"#_ftn18\" name=\"_ftnref18\">[18]<\/a> i\u015faretini bu \u015fekilde okudu\u011funu belirtir.<\/p><p>Az \u00f6nce g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi,<strong> \u00edl-l\u00e1 <\/strong>ve fiil formlar\u0131<strong> \u00edla, \u00edli ve \u00edl, <\/strong>tanr\u0131la\u015ft\u0131rma anlam\u0131nda y\u00fcceltme fikrini aktar\u0131r.<\/p><p>Dolay\u0131s\u0131yla, Frans\u0131zca&#8217;da porte (kap\u0131 lentosu) (<strong>aka4) <\/strong>s\u00f6zc\u00fc\u011f\u00fcn\u00fcn \u00e7ocuk ta\u015f\u0131mak, do\u011furmak anlam\u0131n\u0131 ta\u015f\u0131d\u0131\u011f\u0131 (!) gibi (<strong>a-ka <\/strong>\/<strong> ugu ile<\/strong>), <strong>ka <\/strong>\/ <strong>ga&#8217;n\u0131n \u00edl-l\u00e1 <\/strong>ile ili\u015fkilendirilmesiyle, y\u00fcceltmek, tanr\u0131la\u015ft\u0131rmak anlam\u0131nda y\u00fckseltmek anlam\u0131n\u0131 da ta\u015f\u0131d\u0131\u011f\u0131n\u0131 s\u00f6yleyebiliriz!<\/p><p>Ya da ba\u015fka bir \u015fekilde ifade etmek gerekirse, S\u00fcmerce&#8217;de anlamsal bir zincir vard\u0131r: kap\u0131 &#8211; ta\u015f\u0131yan ya da do\u011furan kad\u0131n &#8211; tanr\u0131sall\u0131k mertebesine y\u00fckseltmek anlam\u0131nda ta\u015f\u0131mak.<\/p><p>\u00a0<\/p><p><strong>&#8220;\u00edli&#8221; &#8220;a-ka&#8221; ve ilk isim &#8220;Eve&#8221; aras\u0131ndaki ba\u011flant\u0131<\/strong><\/p><p>\u00a0<\/p><p>Havva&#8217;n\u0131n ad\u0131n\u0131n ve kap\u0131n\u0131n sembolizminin analizinden de g\u00f6rd\u00fck ki, aka onun \u00e7ocuklar\u0131n\u0131n annesi olarak S\u00fcmerce adlar\u0131ndan biriydi (dolay\u0131s\u0131yla kap\u0131 ve kap\u0131 dire\u011fi onun ba\u015fl\u0131ca amblemlerinden biriydi).<\/p><p>Hem \u00e7ocuk do\u011furmay\u0131 hem de tanr\u0131sall\u0131k mertebesine y\u00fckselmeyi belirtmek i\u00e7in<strong> \u00edli <\/strong>ve <strong>a-ka <\/strong>aras\u0131ndaki bu fikir birli\u011fi, Yunan tanr\u0131\u00e7as\u0131 Hera-illyria taraf\u0131ndan sa\u011flanan do\u011fumun asl\u0131nda bir varl\u0131\u011f\u0131n yeniden do\u011fu\u015funa izin veren ve ona tanr\u0131sall\u0131k bah\u015feden bir g\u00fc\u00e7 oldu\u011fu fikrini do\u011frulayabilir.<\/p><p>Ve bu \u00e7a\u011fr\u0131\u015f\u0131m, ana tanr\u0131\u00e7a Hera&#8217;n\u0131n pe\u00e7esinin ard\u0131na saklanan ilkel kad\u0131n\u0131n ger\u00e7ek y\u00fcz\u00fcn\u00fc gizleyen perdenin bir par\u00e7as\u0131n\u0131 da kald\u0131r\u0131r: Havva.<\/p><p>\u00a0<\/p><p><strong>\u0130li&#8221; ayn\u0131 zamanda &#8220;parlamak&#8221;, &#8220;tutmak&#8221;, &#8220;ta\u015f\u0131mak&#8221; anlam\u0131na da gelmektedir.<\/strong><\/p><p>\u00a0<\/p><p>\u015eimdi<strong> \u00edli kelimesinin <\/strong>anlam\u0131na d\u00f6necek olursak, y\u00fccelmenin parlamak, tutmak, ta\u015f\u0131mak ile e\u015fanlaml\u0131 oldu\u011funu da fark etmi\u015fsinizdir&#8230;<\/p><p>Belki o zaman, yukar\u0131da al\u0131nt\u0131lanan Hera ile ilgili notta belirtildi\u011fi gibi, do\u011fum an\u0131nda Hera-\u0130llythia&#8217;n\u0131n neden elinde bir me\u015fale tutarken temsil edildi\u011fini daha iyi anlayabilirsiniz; bu me\u015fale kesinlikle bir \u0131\u015f\u0131k sembol\u00fcd\u00fcr, ama ayn\u0131 zamanda, g\u00f6rece\u011fimiz gibi, yeniden do\u011fan ve bir y\u0131ld\u0131z haline gelen ki\u015finin y\u0131ld\u0131z\u0131n\u0131n sembolizminin, tanr\u0131sall\u0131\u011fa eri\u015fmenin bir sembol\u00fcd\u00fcr.\u00a0<\/p><p>Bu da kutsal Yunancan\u0131n k\u00f6klerinin S\u00fcmerceye dayand\u0131\u011f\u0131n\u0131n bir ba\u015fka kan\u0131t\u0131d\u0131r.<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">\u00edli&#8217;, insanl\u0131\u011f\u0131n atas\u0131 olan ilksel baban\u0131n tanr\u0131la\u015ft\u0131r\u0131lmas\u0131n\u0131 ifade eder.<\/span><\/h6><p>\u00a0<\/p><p>S\u00fcmerce<strong> \u00edli<\/strong> kelimesinin \u00e7evirisi olan Yunanca illy kelimesinin anlam\u0131 hakk\u0131nda anlamam\u0131z gereken ikinci \u015fey, bu y\u00fckseltmenin ilkel insan\u0131n, bir insan\u0131n, tanr\u0131 mertebesine y\u00fckseltilmesine at\u0131fta bulundu\u011fudur.<\/p><p>Neden biri bunu s\u00f6ylesin ki?<\/p><p>\u00a0<\/p><p><strong>Bir tanr\u0131n\u0131n Y\u00dcCELT\u0130LMES\u0130 ya da Y\u00dcCELT\u0130LMEMES\u0130 gerekmez. O ZATEN \u00f6yledir.<\/strong><\/p><p>\u00a0<\/p><p>\u00c7\u00fcnk\u00fc olduk\u00e7a basit bir \u015fekilde, bir tanr\u0131n\u0131n yukar\u0131 kald\u0131r\u0131lmas\u0131, ta\u015f\u0131nmas\u0131, tutulmas\u0131, ask\u0131ya al\u0131nmas\u0131 gerekti\u011fi ger\u00e7e\u011fi, bunun her zaman onun durumu olmad\u0131\u011f\u0131 anlam\u0131na gelir.\u00a0 Ger\u00e7ek bir tanr\u0131n\u0131n yukar\u0131 kald\u0131r\u0131lmaya, y\u00fckse\u011fe konulmaya ihtiyac\u0131 yoktur, \u00e7\u00fcnk\u00fc o zaten \u00f6yledir ve her zaman da \u00f6yle olmu\u015ftur.<\/p><p>Dolay\u0131s\u0131yla bu y\u00fcceltme eylemi, insanl\u0131\u011f\u0131, ilkel insan\u0131n \u00f6l\u00fcm\u00fcnden sonra b\u00fcy\u00fck tanr\u0131sall\u0131\u011fa, tanr\u0131lar\u0131n babas\u0131na d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcne inand\u0131rmaktan ibaret olan mitle\u015ftirmeyi (gizemle\u015ftirme demiyorum) ad\u0131yla san\u0131yla g\u00f6sterir. Ana tanr\u0131\u00e7a haline gelen kar\u0131s\u0131n\u0131n yenileyici g\u00fcc\u00fc sayesinde, rahmine geri d\u00f6nerek ona verdi\u011fi yeni do\u011fum sayesinde.<\/p><p>\u00a0<\/p><p><strong>Tanr\u0131 ile baba, ata, en b\u00fcy\u00fck, en ya\u015fl\u0131 aras\u0131ndaki e\u015fde\u011ferlik<\/strong><\/p><p>\u00a0<\/p><p><strong>S\u00fcmerce \u012alu ve illu<\/strong><\/p><p>\u00a0<\/p><p>Bu tanr\u0131n\u0131n ba\u015fka bir nedenden \u00f6t\u00fcr\u00fc ilkel insan oldu\u011fu da ileri s\u00fcr\u00fclebilir.<\/p><p>Bay Michel&#8217;in bahsetti\u011fi <strong>\u012alu&#8217;nun <\/strong>anlam\u0131 \u00e7ok ilgin\u00e7tir, kendisi i\u00e7in di\u011fer anlamlar\u0131n\u0131n yan\u0131 s\u0131ra &#8220;tanr\u0131<a href=\"#_ftn19\" name=\"_ftnref19\">[19]<\/a> &#8221; (S\u00fcmerce tanr\u0131 ad\u0131 genellikle di\u00f1ir veya dingirdir ).<a href=\"#_ftn20\" name=\"_ftnref20\">[20]<\/a><\/p><p><strong>Ger\u00e7ekten de, illu <\/strong>e\u015fseslisi &#8220;y\u00fcksek su, sel&#8221; anlam\u0131na gelir; amniyotik s\u0131v\u0131<a href=\"#_ftn21\" name=\"_ftnref21\">[21]<\/a><\/p><p>\u015eimdi, tufan baba ile e\u015fanlaml\u0131d\u0131r, \u00e7\u00fcnk\u00fc &#8220;<strong>a<\/strong>&#8221; &#8220;baba&#8221; ve ayn\u0131 zamanda &#8220;tufan&#8221; anlam\u0131na gelir<a href=\"#_ftn22\" name=\"_ftnref22\">[22]<\/a> .<\/p><p>Bu bize ne anlat\u0131yor?<\/p><p>Ana tanr\u0131\u00e7an\u0131n yeniden do\u011fu\u015fuyla, onu rahminde ve cennete ta\u015f\u0131mas\u0131yla tanr\u0131sall\u0131k mertebesine y\u00fckseltilen ki\u015fi, babadan, yani kocas\u0131ndan ve e\u015finden ba\u015fkas\u0131 de\u011fildir.<\/p><p>\u00a0<\/p><p><strong>Tanr\u0131 i\u00e7in Elamca &#8216;nab&#8217;<\/strong><\/p><p>\u00a0<\/p><p>Elamca&#8217;da tanr\u0131n\u0131n baba oldu\u011funu, tanr\u0131 kelimesinin <strong>nab olmas\u0131yla <\/strong>da teyit ediyoruz.<\/p><p>Ger\u00e7ekten de bu isim okyanus anlam\u0131na gelir ve (<strong>n\u00ed <\/strong>&#8220;korku, sayg\u0131&#8221; ve &#8220;<strong>aba<\/strong>, <strong>ab<\/strong>&#8221; &#8220;g\u00f6l, deniz)<a href=\"#_ftn23\" name=\"_ftnref23\">[23]<\/a> kelimelerinin k\u0131saltmas\u0131d\u0131r.<\/p><p>Bu okyanus, bu g\u00f6l, bu sembolik deniz bizi yan\u0131ltmamal\u0131d\u0131r, \u00e7\u00fcnk\u00fc bunlar bizi asl\u0131nda S\u00fcmerce &#8220;baba&#8221; anlam\u0131na gelen &#8220;<strong>a &#8220;<\/strong>ya y\u00f6nlendirmektedir ki bu da sadece &#8220;sel&#8221; de\u011fil ayn\u0131 zamanda &#8220;su&#8221; anlam\u0131na da gelmektedir (bkz. yukar\u0131daki not).<\/p><p>\u00a0<\/p><p><strong>Elamca &#8216;nab&#8217;\u0131n S\u00fcmerce kar\u015f\u0131l\u0131\u011f\u0131: baba, ya\u015fl\u0131, ata<\/strong><\/p><p>\u00a0<\/p><p>Dahas\u0131, bu <strong>aba, ab <\/strong>elamitinin S\u00fcmercenin kar\u015f\u0131l\u0131\u011f\u0131 oldu\u011fu \u00e7ok a\u00e7\u0131kt\u0131r:<\/p><p>Ger\u00e7ekten de S\u00fcmerce <strong>aba&#8217;da ab, <\/strong>&#8220;bir g\u00f6l\u00fc, denizi&#8221;<a href=\"#_ftn24\" name=\"_ftnref24\">[24]<\/a> ve seste\u015fi <strong>ab-ba&#8217;y\u0131 <\/strong>&#8230; babay\u0131, en b\u00fcy\u00fc\u011f\u00fc, atay\u0131 <a href=\"#_ftn25\" name=\"_ftnref25\">[25]<\/a><a href=\"#_ftn26\" name=\"_ftnref26\">[26]<\/a> do\u011fru bir \u015fekilde belirtir.<\/p><p>L\u00fctfen bunun ne anlama geldi\u011fini anlay\u0131n: mitolojik dine g\u00f6re, ana tanr\u0131\u00e7a taraf\u0131ndan karn\u0131nda ta\u015f\u0131nan, ancak \u00f6l\u00fcm\u00fcnden sonra yeni bir do\u011fuma, yeniden do\u011fu\u015fa izin verilen ve tanr\u0131lar\u0131n babas\u0131 olmas\u0131n\u0131 sa\u011flayan ki\u015fi, <u>insan atas\u0131ndan, en b\u00fcy\u00fck <\/u>babadan, ba\u015fka bir deyi\u015fle ilk insandan ba\u015fkas\u0131 de\u011fildir.<\/p><p>Hera illythia&#8217;n\u0131n ismindeki Yunanca illy&#8217;nin anlam\u0131n\u0131 anlamak i\u00e7in<strong> \u00edli&#8217;nin anlam\u0131n\u0131 <\/strong>anlad\u0131\u011f\u0131m\u0131za g\u00f6re, \u015fimdi <strong>Ti&#8217;nin anlam\u0131na <\/strong>d\u00f6nelim.<\/p><p>Bu, bu ana tanr\u0131\u00e7an\u0131n ger\u00e7ek kimli\u011fi \u00fczerindeki \u00f6rt\u00fcy\u00fc tamamen kald\u0131rmam\u0131z\u0131 sa\u011flayacakt\u0131r.<\/p><p>\u00a0<\/p><h5><span style=\"color: #000000;\">&#8216;Ti&#8217;, &#8216;Te&#8217;nin ET\u0130MOLOJ\u0130S\u0130<\/span><\/h5><p>\u00a0<\/p><p>Havva ismi ve kaburga kemi\u011fi, akbaba ve havan sembolizmi \u00fczerine yapt\u0131\u011f\u0131m\u0131z analizde, insanl\u0131\u011fa hayat veren ilksel annenin S\u00fcmerce <strong>Ti ve <\/strong>e\u015fanlaml\u0131s\u0131 <strong>Te <\/strong>ismini ta\u015f\u0131d\u0131\u011f\u0131n\u0131 g\u00f6rm\u00fc\u015ft\u00fck.<\/p><p>Nedenini k\u0131saca hat\u0131rlayal\u0131m:<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">&#8220;Ti&#8221;, k\u0131y\u0131, yan, e\u015f, yolda\u015f, ok<\/span><\/h6><p>\u00a0<\/p><p>Adem&#8217;in kaburga kemi\u011finden ya da yan\u0131ndan al\u0131nd\u0131\u011f\u0131 ve S\u00fcmerce&#8217;de yan kelimesi e\u015f ya da yolda\u015f anlam\u0131na geldi\u011fi i\u00e7in Havva&#8217;ya <strong>Ti ya <\/strong>da <strong>Te <\/strong>denmi\u015f ve onu temsil etmek i\u00e7in kullan\u0131lan semboller aras\u0131nda bir kaburga kemi\u011fi ya da bir ok yer alm\u0131\u015ft\u0131r.<\/p><p>Bunun nedeni S\u00fcmerce&#8217;de<strong> &#8220;<\/strong><strong> te<\/strong>, <strong>ti<\/strong> &#8221; kelimelerinin kesinlikle e\u015fanlaml\u0131<a href=\"#_ftn27\" name=\"_ftnref27\">[27]<\/a> olmas\u0131 ve ayr\u0131m g\u00f6zetmeksizin &#8220;bir yan, bir kaburga, bir ok <a href=\"#_ftn28\" name=\"_ftnref28\">[28]<\/a> &#8221; anlam\u0131na gelmesidir.<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">&#8220;Ti&#8221;, ya\u015fam, ya\u015fam veren<\/span><\/h6><p>\u00a0<\/p><p>\u00c7\u00fcnk\u00fc o t\u00fcm canl\u0131lar\u0131n annesidir ve \u00e7ocuklar\u0131na, insanl\u0131\u011fa hayat verendir.<\/p><p>Ger\u00e7ekten de <strong>ti<\/strong>, <strong>t\u00ecla<\/strong>, <strong>t\u00ecl <\/strong>gibi ve ayn\u0131 zamanda &#8216;hayat&#8217; anlam\u0131na gelir.<\/p><p><strong>t\u00ecla, &#8220;tu&#8221;, &#8220;<\/strong>do\u011fmak&#8221; ve &#8220;<strong>\u00edla&#8221;, &#8220;<\/strong>b\u00fcy\u00fctmek, ta\u015f\u0131mak&#8221; s\u00f6zc\u00fcklerinin k\u0131salt\u0131lm\u0131\u015f halidir, bu nedenle kelimenin tam anlam\u0131yla &#8220;b\u00fcy\u00fctmek, do\u011fan\u0131 ta\u015f\u0131mak&#8221; anlam\u0131na gelir.<\/p><p>Bu elbette, \u0130branice&#8217;deki ad\u0131 (&#8220;<strong>y<\/strong>&#8220;, &#8220;<strong>v&#8221; <\/strong>veya &#8220;<strong>w&#8221; olarak <\/strong>\u00e7evrilebilen yod ile) &#8220;h<strong>aya<\/strong>&#8221; veya &#8220;h<strong>ava<\/strong>&#8221; veya &#8220;h<strong>awa<\/strong>&#8221; olarak \u00e7evrilen ve &#8220;ya\u015famak&#8221; veya &#8220;ya\u015fatmak&#8221; veya &#8220;olmak&#8221; fikrini ta\u015f\u0131yan <strong>HWH <\/strong>k\u00f6k\u00fcnden gelen ve bu nedenle &#8220;ya\u015fayanlar\u0131n annesi&#8221; veya &#8220;hayat veren&#8221; anlam\u0131na gelen Havva ile m\u00fckemmel bir \u015fekilde ba\u011flant\u0131l\u0131d\u0131r.<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">&#8220;Te&#8221;, D\u00fcnyan\u0131n Kurulu\u015fu<\/span><\/h6><p>\u00a0<\/p><p>\u00c7\u00fcnk\u00fc o bir kad\u0131n ve ilksel anne olarak d\u00fcnyan\u0131n temelindedir (te)<\/p><p><strong>&#8220;te<\/strong>&#8221; ilksel di\u015fi genit\u00f6re, tanr\u0131lar ve erkekler d\u00fcnyas\u0131n\u0131 kuran kad\u0131na at\u0131fta bulunur.<\/p><p>Asl\u0131nda, \u00e7ivi yaz\u0131s\u0131ndaki &#8220;<strong>te<\/strong>&#8221; i\u015faretinin &#8220;<strong>temen<\/strong>, <strong>te-me-en <\/strong>ya da <strong><u>te-me&#8221; <\/u><\/strong>kelimelerinin transkripsiyonu olmas\u0131 dikkat \u00e7ekicidir; bu kelimeler di\u011fer \u015feylerin yan\u0131 s\u0131ra &#8220;vak\u0131f<a href=\"#_ftn29\" name=\"_ftnref29\"><sup>[29]<\/sup><\/a> &#8221; anlam\u0131na gelmektedir.<\/p><p>Dolay\u0131s\u0131yla &#8220;<strong>te&#8221; <\/strong>temel anlam\u0131na gelir ve bu da mant\u0131ksal olarak d\u00fcnyan\u0131n kurulu\u015fundaki ilksel anneye olduk\u00e7a uygundur.<\/p><p>Bu konuda, kutsal S\u00fcmercenin kutsal Yunancan\u0131n k\u00f6keni oldu\u011fundan hala \u015f\u00fcphe duyanlar i\u00e7in, \u00f6rne\u011fin, bu terimlerin her biri bir temeli belirtiyorsa, bunlara &#8220;meshedilmi\u015f&#8221; veya &#8220;mezar&#8221; anlam\u0131na gelen<strong> &#8220;e\u0161&#8221; <\/strong>logogram ekini eklersek<a href=\"#_ftn30\" name=\"_ftnref30\">[30]<\/a> , <strong>temen- e\u0161<\/strong> daha sonra &#8220;tap\u0131nak&#8221; veya &#8220;kutsal alan&#8221;<a href=\"#_ftn31\" name=\"_ftnref31\">[31]<\/a> anlam\u0131n\u0131 al\u0131r, kelimenin tam anlam\u0131yla temel veya kutsal \u00e7evre anlam\u0131na gelir, ki bu da a\u00e7\u0131k\u00e7a Yunanca kutsal alan anlam\u0131na gelen &#8220;<strong>temenos<\/strong>&#8220;<a href=\"#_ftn32\" name=\"_ftnref32\">[32]<\/a> kelimesinin ger\u00e7ek k\u00f6kenidir ve daha spesifik olarak ilahiyata adanm\u0131\u015f kutsal alana at\u0131fta bulunur<a href=\"#_ftn33\" name=\"_ftnref33\">[33]<\/a> .<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">&#8220;Ti, Tum, aka&#8221;: Yapan, hareket eden<\/span><\/h6><p>\u00a0<\/p><p>Bir ba\u015fka etimolojik kan\u0131t da ilksel anne Havva&#8217;y\u0131 &#8216;<strong>ti,&#8217; &#8216;te&#8217; <\/strong>logogramlar\u0131na ba\u011flamaktad\u0131r.<\/p><p>Ger\u00e7ek \u015fu ki, ba\u015fl\u0131ca S\u00fcmer isimlerinden biri olan <strong>aka, <\/strong>s\u00f6zel haliyle, yapmak, hareket etmek anlam\u0131na gelir<a href=\"#_ftn34\" name=\"_ftnref34\">[34]<\/a> .<\/p><p>\u015eimdi, e\u011fer <strong>te ve ti <\/strong>e\u015fde\u011ferse ve \u00f6zellikle bir ok anlam\u0131na geliyorsa<a href=\"#_ftn35\" name=\"_ftnref35\">[35]<\/a><\/p><p>ayn\u0131 zamanda bir ok anlam\u0131na gelen <strong>tum <\/strong>logogram\u0131 da bir eylemi, bir i\u015fi ifade eder<a href=\"#_ftn36\" name=\"_ftnref36\">[36]<\/a> .<\/p><p>Bu eksende de ok (<strong>te<\/strong>, <strong>ti<\/strong>, <strong>tum<\/strong>), eyleyen, yapan olarak ilksel anne <strong>Havva-aka&#8217;n\u0131n <\/strong>sembol\u00fcd\u00fcr.<\/p><p>Bu, \u0130branice Havva isminin, ger\u00e7ek tanr\u0131 <strong>YHWH&#8217;nin isminin <\/strong>de \u00fczerine in\u015fa edildi\u011fi <strong>HWH <\/strong>fiil k\u00f6k\u00fc \u00fczerine in\u015fa edildi\u011fi ger\u00e7e\u011fine m\u00fckemmel bir \u015fekilde uymaktad\u0131r.<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">&#8216;Ti, te&#8217; alt\u0131ndaki ilksel annenin neden akbaba ve havanla ili\u015fkilendirildi\u011fine dair k\u0131sa bir hat\u0131rlatma<\/span><\/h6><p>\u00a0<\/p><p>Bir hat\u0131rlatma olarak, M\u0131s\u0131r tanr\u0131\u00e7as\u0131 Hathor genellikle bir akbaba ve bir havan topuyla temsil edilirdi<a href=\"#_ftn37\" name=\"_ftnref37\">[37]<\/a> .<\/p><p>Ayn\u0131 \u015fey birlikte an\u0131ld\u0131\u011f\u0131 \u0130sis i\u00e7in de ge\u00e7erliydi.<\/p><p>Burada Phil\u00e6&#8217;deki \u0130sis tap\u0131na\u011f\u0131ndan, Ptolemaik d\u00f6nemden kalma bir kabartmada Hathor&#8217;un niteliklerini ta\u015f\u0131yan bir \u0130sis resmi ve sa\u011f yan\u0131nda Kahire&#8217;deki M\u0131s\u0131r M\u00fczesi&#8217;nde bulunan bir Hathor temsili yer almaktad\u0131r:<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-13973\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image3-208x300.jpg\" alt=\"\" width=\"208\" height=\"300\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image3-208x300.jpg 208w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image3.jpg 283w\" sizes=\"(max-width: 208px) 100vw, 208px\" \/><img decoding=\"async\" class=\"alignnone size-medium wp-image-13983\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image4-222x300.jpg\" alt=\"\" width=\"222\" height=\"300\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image4-222x300.jpg 222w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image4.jpg 303w\" sizes=\"(max-width: 222px) 100vw, 222px\" \/><\/p><p>\u0130sis-Hathor \u00f6rne\u011finde, ba\u015f\u0131n\u0131n \u00fczerinde akbaba cesedi, onun \u00fczerinde havan ve inek Hathor&#8217;un boynuzlar\u0131 vard\u0131r.<\/p><p>\u00a0<\/p><p><strong>Neden akbaba?<\/strong><\/p><p>\u00a0<\/p><p>Ana tanr\u0131\u00e7an\u0131n simgesel sembollerinden biri olan akbaba ile <strong>ti, te&#8217;yi birbirine <\/strong>ba\u011flayan iki a\u00e7\u0131k ve basit eksen vard\u0131r.<\/p><p>\u00a0<\/p><p><strong>&#8220;Te&#8221;, sakall\u0131 akbaba<\/strong><\/p><p>\u00a0<\/p><p>\u0130lk do\u011frudan eksen, &#8220;t<strong>e &#8220;n<\/strong>in basit\u00e7e bir akbaba anlam\u0131na geldi\u011fi basit ger\u00e7e\u011fidir<a href=\"#_ftn38\" name=\"_ftnref38\"><sup>[38]<\/sup><\/a> .<\/p><p>Bu hayvan\u0131n Havva&#8217;y\u0131 ve ona ba\u011fl\u0131 de <strong>ti, te <\/strong>t\u00fcm duyular\u0131 temsil etmek i\u00e7in kullan\u0131lmas\u0131n\u0131n ana nedenlerinden biri budur.<\/p><p>Te, a taraf\u0131 \u00c1, \u00e1 ile e\u015fde\u011ferli\u011fine g\u00f6re.<\/p><p>\u0130kinci ve daha dolayl\u0131 bir eksen ise <strong>Te <\/strong>le vautour&#8217;un ayn\u0131 zamanda ilksel kad\u0131nla ili\u015fkili oldu\u011funu bildi\u011fimiz bir kelime olan yan anlam\u0131na gelmesidir.<\/p><p>Akbaban\u0131n ayn\u0131 zamanda bir kaburga kemi\u011fi, bir yan, bir e\u015f, bir yolda\u015f anlam\u0131na geldi\u011fini s\u00f6yleyebiliriz \u00e7\u00fcnk\u00fc &#8220;akbaba &#8220;n\u0131n S\u00fcmerce fonetik kar\u015f\u0131l\u0131\u011f\u0131 &#8220;<strong> \u00c1<\/strong><a href=\"#_ftn39\" name=\"_ftnref39\"><sup>[39]<\/sup><\/a> &#8221; veya &#8220;<strong>\u00e1 &#8220;d\u0131r<\/strong>.<\/p><p>\u015eimdi, &#8220;<strong>\u00e1 &#8220;n\u0131n <\/strong>birincil anlamlar\u0131ndan biri: bir yan, bir kol<a href=\"#_ftn40\" name=\"_ftnref40\"><sup>[40]<\/sup><\/a> , k\u0131y\u0131 sembolizminde ayr\u0131nt\u0131l\u0131 olarak g\u00f6sterildi\u011fi gibi<a href=\"#_ftn41\" name=\"_ftnref41\"><sup>[41]<\/sup><\/a> &#8220;arkada\u015f, destek, e\u015f&#8221; anlam\u0131na gelen kelimeler.<\/p><p>\u00a0<\/p><p><strong>M\u0131s\u0131r hiyerogliflerinde Akbaba ile do\u011frudan ili\u015fki<\/strong><\/p><p>\u00a0<\/p><p>Bu arada, az \u00f6nce S\u00fcmer akbabas\u0131n\u0131n<strong> \u00c1 <\/strong>fonetik e\u015fde\u011ferine sahip oldu\u011funu s\u00f6yledi\u011fimize g\u00f6re, bu <strong>A&#8217;n\u0131n <\/strong>bir akbaba ile temsil edildi\u011fi M\u0131s\u0131r hiyeroglifleri taraf\u0131ndan tamamen do\u011frulanmaktad\u0131r.<\/p><p>M\u0131s\u0131r hiyeroglifleri bize bu konuda ne s\u00f6yl\u00fcyor?<\/p><p>Bunun &#8216;basit&#8217;, temel kar\u015f\u0131l\u0131\u011f\u0131 a\u015fa\u011f\u0131daki gibidir:<\/p><p><strong>A <\/strong>= <img decoding=\"async\" class=\"alignnone size-full wp-image-13993\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image5.png\" alt=\"\" width=\"30\" height=\"30\" \/>Akbaba <a href=\"#_ftn42\" name=\"_ftnref42\"><sup>[42]<\/sup><\/a><\/p><p>Fonemler halinde sunuldu\u011funda alfabenin ilk harfidir.<\/p><p>Kabul edelim ki, S\u00fcmerce bir akbabay\u0131 &#8220;<strong>te<\/strong>&#8221; ile adland\u0131r\u0131rken buna <u>kar\u015f\u0131l\u0131k gelen ideografik de\u011ferin &#8220;<strong> \u00c1<\/strong> &#8221; oldu\u011funu <\/u>g\u00f6rmek olduk\u00e7a s\u0131ra d\u0131\u015f\u0131d\u0131r, <u>M\u0131s\u0131rl\u0131lar ise akbaba ideogram\u0131n\u0131 A sesiyle adland\u0131r\u0131r<\/u>!<\/p><p>Ya da daha a\u00e7\u0131k bir \u015fekilde ifade etmek gerekirse, S\u00fcmerce bize \u015funu s\u00f6yledi\u011finde:<\/p><p><strong>\u00a0\u00a0 <\/strong><strong>&#8220;te<\/strong>\u00a0\u00a0 &#8221; = &#8220;temel, akbaba, har\u00e7\u00a0\u00a0\u00a0\u00a0<\/p><p><strong>= \u00e1&#8221; <\/strong>= &#8220;yan, kol\u00a0\u00a0<\/p><p>(= &#8220;<strong>ti&#8221; <\/strong>= &#8220;k\u0131y\u0131 veya taraf&#8221; \/ &#8220;hayat&#8221; \/ &#8220;ok&#8221; &#8230;)<\/p><p>M\u0131s\u0131rl\u0131 bize diyor ki:<\/p><p>\u00a0\u00a0 Akbaba = &#8220;<strong>\u00e1<\/strong>&#8220;!\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p><p>Tam bir daire \u00e7izdi\u011fimizi s\u00f6yleyebiliriz ve arkaik S\u00fcmer ile M\u0131s\u0131r aras\u0131ndaki dilbilim ve dolay\u0131s\u0131yla mistisizm ve dini belirleyen kutsal dilbilim a\u00e7\u0131s\u0131ndan yak\u0131n ba\u011f\u0131 hemen fark edebiliriz.<\/p><p>\u00c7\u00fcnk\u00fc M\u0131s\u0131r&#8217;da oldu\u011fu gibi S\u00fcmer&#8217;de de akbaba sembol\u00fcn\u00fcn fonetik bir &#8216;a&#8217; ile kar\u015f\u0131l\u0131k bulmas\u0131 ya da e\u015fde\u011fer olmas\u0131 kesinlikle tesad\u00fcf olamaz.<\/p><p>Bu basit \u00f6rnek bile, bu iki kutsal dilin sembolik ifadelerinde birbirleriyle yak\u0131ndan ba\u011flant\u0131l\u0131 olduklar\u0131n\u0131n a\u00e7\u0131k bir kan\u0131t\u0131d\u0131r.<\/p><p>Bu ba\u011flamda, Champollion S\u00fcmerce bilseydi, akbaban\u0131n fonetik anlam\u0131n\u0131 bulmak i\u00e7in el yordam\u0131yla t\u00fcmdengelim yapmak zorunda kalmayaca\u011f\u0131n\u0131 da ekleyebiliriz.<\/p><p>Ancak bu konuya daha sonra geri d\u00f6nece\u011fiz, \u00e7\u00fcnk\u00fc bu S\u00fcmer-Hiyeroglif yaz\u0131\u015fmas\u0131, basit bir dilbilimsel yaz\u0131\u015fman\u0131n \u00f6tesinde, kutsal d\u00fczeyde geni\u015f kapsaml\u0131 sonu\u00e7lara sahiptir ve bu nedenle \u00f6zel bir b\u00f6l\u00fcm gerektirir.<\/p><p>\u00a0<\/p><p><strong>&#8220;Te&#8221; kaburga, yan anlam\u0131na ili\u015fkin sonu\u00e7:<\/strong><\/p><p>\u00a0<\/p><p>&#8216;<strong>Te&#8217;nin ger\u00e7ekten de <\/strong>bir kaburgay\u0131, bir taraf\u0131 belirtti\u011fini g\u00f6sterdi\u011fimiz yere geri d\u00f6nersek, bunun ger\u00e7ekten de b\u00f6yle oldu\u011funu ve iki farkl\u0131 anlamsal eksen \u00fczerinden ger\u00e7ekle\u015fti\u011fini g\u00f6rm\u00fc\u015f oluruz:<\/p><ul><li>&#8220;<strong>ti&#8221; <\/strong>(k\u0131y\u0131, yan, ok) ile e\u015fde\u011ferli\u011fi sayesinde<\/li><li>\u00c7ivi yaz\u0131s\u0131 ile &#8220;<strong>\u00c1<\/strong>&#8221; <strong>&#8220;\u00e1&#8221; <\/strong>(kol, kanat, kaburga, yan, boynuz, g\u00fc\u00e7)<\/li><\/ul><p>Bu bir tesad\u00fcf olamaz.\u00a0<\/p><p>\u00a0<\/p><p><strong>Neden har\u00e7?<\/strong><\/p><p>\u00a0<\/p><p>\u0130lksel annenin (tanr\u0131\u00e7a) neden havanla ili\u015fkilendirildi\u011fine k\u0131saca bir g\u00f6z atal\u0131m.<\/p><p>Bu sadece etimolojik bir de\u011ferlendirmedir, \u00e7\u00fcnk\u00fc g\u00fc\u00e7l\u00fc bir sembolik neden de vard\u0131r.<\/p><p>S\u00fcmerce&#8217;de akbaba ve har\u00e7 e\u015fanlaml\u0131d\u0131r diyelim.<\/p><p>S\u00fcmerce&#8217;de &#8220;<strong>te&#8221; &#8220;<\/strong>akbaba&#8221; anlam\u0131na gelir, ancak e\u015fsesli &#8220;<strong>t\u00e8&#8221; ayn\u0131 <\/strong>zamanda &#8220;har\u00e7 veya muhafaza&#8221; anlam\u0131na da gelir (&#8220;<strong>t\u00e8 &#8220;nin &#8220;na\u00f1a<\/strong><a href=\"#_ftn43\" name=\"_ftnref43\"><sup>[43]<\/sup><\/a> &#8221; ile e\u015fde\u011ferli\u011fi nedeniyle). Asl\u0131nda, <strong>t\u00e8 <\/strong>alkali bir bitkiyi, bir \u00e7\u00f6ven otunu, kakuleyi belirtir, t\u0131pk\u0131 \u00e7\u00f6ven otuna ek olarak bir harc\u0131, bir muhafazay\u0131, bir daireyi, bir b\u00fct\u00fcn\u00fc <a href=\"#_ftn44\" name=\"_ftnref44\"><sup>[44]<\/sup><\/a><a href=\"#_ftn45\" name=\"_ftnref45\">[45]<\/a> belirleyen &#8220;<strong>na\u00f1a<\/strong>&#8221; terimi gibi). Bu muhafaza, bu dairenin kendisi, g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi, bir \u00e7evreyi, bir temeli belirten <strong>te&#8217;nin <\/strong>anlamlar\u0131ndan birine geri g\u00f6nderme yapar.<\/p><p>\u00a0<\/p><p><strong>&#8220;Ti, te&#8221; ile akbaba ve har\u00e7 aras\u0131ndaki ili\u015fki \u00fczerine sonu\u00e7<\/strong><\/p><p>\u00a0<\/p><p>Bu nedenle, ilksel anne <strong>ti <\/strong>ya da <strong>te olarak <\/strong>adland\u0131r\u0131lm\u0131\u015ft\u0131r:<\/p><ul><li><strong>Ti<\/strong>, kaburga kemi\u011fi, yan (e\u015f, arkada\u015f), ok<\/li><li><strong>Ti<\/strong>, hayat, hayat veren, Havva gibi t\u00fcm canl\u0131lar\u0131n annesi <strong>haya<\/strong>, <strong>hava<\/strong>, <strong>hawa <\/strong>alt\u0131nda<\/li><li><strong>Te<\/strong>, temel, \u00e7evre, kutsal muhafaza<\/li><li><strong>Ti<\/strong>, <strong>tum<\/strong>, aka (Havva) yapan, eyleyen<\/li><\/ul><p>Etimolojik olarak akbaba ile ili\u015fkilidir \u00e7\u00fcnk\u00fc :<\/p><ul><li><strong>Te <\/strong>bir akbaba<\/li><li><strong>Te bir <\/strong>taraft\u0131r, \u00e7\u00fcnk\u00fc akbaba da<strong> \u00c1 olarak <\/strong>telaffuz edilir ve<strong> \u00e1 bir taraf, bir <\/strong>kol anlam\u0131na gelir.<\/li><\/ul><p>Etimolojik olarak har\u00e7 ile ili\u015fkilidir \u00e7\u00fcnk\u00fc :<\/p><ul><li><strong>Te <\/strong>la fondation \u00e7evre, bir har\u00e7 ve bir muhafaza, bir daire, bir b\u00fct\u00fcnl\u00fck anlam\u0131na gelen <strong>na\u00f1a ile <\/strong>e\u015fde\u011fer olan <strong>&#8221; t\u00e8<\/strong> &#8221; seste\u015fine sahiptir<\/li><\/ul><p>Bu nedenle, etimolojik olarak ana-tanr\u0131\u00e7a olan ilksel anne Havva ile ili\u015fkilendirilen a\u015fa\u011f\u0131daki sembolik ba\u011flant\u0131y\u0131 g\u00f6rebiliriz:<\/p><ul><li><strong>ti <\/strong>= kaburga veya yan (e\u015f, partner), ok; ya\u015fam<\/li><li><strong>te <\/strong>= temel, \u00e7evre, muhafaza veya daire; akbaba<\/li><li><strong>t\u00e8 <\/strong>= har\u00e7, muhafaza<\/li><li><strong>\u00c1<\/strong>,<strong> \u00e1 <\/strong>= yan, kol (e\u015f, partner)<\/li><\/ul><p>\u00a0<\/p><h5><span style=\"color: #000000;\">A&#8217;NIN ET\u0130MOLOJ\u0130S\u0130<\/span><\/h5><p>\u00a0<\/p><p><strong>\u00edli <\/strong>ve <strong>ti&#8217;nin <\/strong>anlamlar\u0131n\u0131 g\u00f6rd\u00fckten sonra, \u015fimdi <strong>a&#8217;n\u0131n <\/strong>anlam\u0131na bakmam\u0131z gerekiyor.<\/p><p><strong>\u00c1, \u00e1&#8217;n\u0131n <\/strong>e\u015f, yolda\u015f anlam\u0131nda bir taraf\u0131, bir kolu belirtebildi\u011fini daha \u00f6nce g\u00f6rm\u00fc\u015ft\u00fck (bkz. kaburga kemi\u011fi sembolizmi).<\/p><p>Ayr\u0131ca illu&#8217;nun analizinde daha \u00f6nce S\u00fcmerce&#8217;de <strong>a&#8217;n\u0131n <\/strong>babay\u0131 ifade etti\u011fini g\u00f6rm\u00fc\u015ft\u00fck<a href=\"#_ftn46\" name=\"_ftnref46\">[46]<\/a> .<\/p><p>Sonu\u00e7 olarak, son a kolayca :<\/p><ul><li>baban\u0131n kaburgas\u0131, yan\u0131, e\u015fi, yolda\u015f\u0131 olarak ilksel anne<\/li><li>baba (baba, e\u015f, arkada\u015f gibi olas\u0131 \u00e7ift anlamlar\u0131yla)<\/li><\/ul><p>\u00a0<\/p><h5><span style=\"color: #000000;\">ILLYTHIA&#8217;NIN DERI\u0307N ANLAMI \u00dcZERI\u0307NE SONU\u00c7<\/span><\/h5><p>\u00a0<\/p><p>Dolay\u0131s\u0131yla, Yunan Hera Illythia&#8217;s\u0131n\u0131n perdesi alt\u0131nda, S\u00fcmerce ti, te veya aka adlar\u0131 alt\u0131nda ilksel anne Havva&#8217;dan (<strong>haya<\/strong>, <strong>hava<\/strong>, <strong>hawa<\/strong>) ba\u015fkas\u0131 yoktur:<\/p><ul><li><strong>Ti<\/strong>, kaburga kemi\u011fi, yan (e\u015f, arkada\u015f), ok<\/li><li><strong>Ti<\/strong>, hayat, hayat veren, Havva gibi t\u00fcm canl\u0131lar\u0131n annesi haya, hava, hawa alt\u0131nda<\/li><li><strong>Te, <\/strong>temel, \u00e7evre, kutsal muhafaza<\/li><li><strong>Ti<\/strong>, <strong>tum<\/strong>, <strong>di\u011fer ad\u0131yla <\/strong>(Havva) yapan, eyleyen<\/li><\/ul><p>\u0130li\u015fkili sembolleri olan akbaba (t<strong>e:<\/strong> akbaba, bir taraf\u0131<strong> \u00c1 <\/strong>ve<strong> \u00e1<\/strong>) ve havan (t<strong>\u00e8,<\/strong> <strong>na\u00f1a<\/strong>, havan ve muhafaza, daire, b\u00fct\u00fcnl\u00fck).<\/p><p>Sadece gelecek nesillerini ve \u00e7ocuklar\u0131n\u0131 do\u011furma g\u00fcc\u00fcne de\u011fil, ayn\u0131 zamanda ve her \u015feyden \u00f6nce \u00f6len kocas\u0131n\u0131 yeni bir do\u011fumla hayata d\u00f6nd\u00fcrme ve onu b\u00fcy\u00fck erkek tanr\u0131sall\u0131\u011fa yeniden d\u00f6n\u00fc\u015ft\u00fcrme g\u00fcc\u00fcne sahip oldu\u011fu s\u00f6ylenen bir anne.<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">Havva&#8217;n\u0131n ad\u0131 &#8220;ti, te&#8221; ve kutsal (yeniden) do\u011fum aras\u0131ndaki ba\u011flant\u0131n\u0131n bir ba\u015fka kan\u0131t\u0131: \u00e7it!<\/span><\/h6><p>\u00a0<\/p><p>Dahas\u0131, ger\u00e7ekle\u015ftirdi\u011fi do\u011fumun tamamen do\u011fal bir do\u011fum oldu\u011funu ve rahminden ge\u00e7enlere getirdi\u011fi yeniden do\u011fu\u015f gibi mistik bir yan\u0131 olmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorsan\u0131z, l\u00fctfen \u015funu d\u00fc\u015f\u00fcn\u00fcn:<\/p><p>\u0130lksel ana tanr\u0131\u00e7an\u0131n ayn\u0131 zamanda akbaba ve har\u00e7 sembollerinin alt\u0131nda bir temel, kutsal bir \u00e7evre oldu\u011funu g\u00f6rd\u00fck; S\u00fcmer tap\u0131na\u011f\u0131na <strong>temen-e\u0161<\/strong><a href=\"#_ftn47\" name=\"_ftnref47\">[47]<\/a> ad\u0131n\u0131 veren ve Yunan tap\u0131na\u011f\u0131n\u0131n kutsal alan\u0131n\u0131n ad\u0131n\u0131 <strong>temenos <\/strong>&#8220;<a href=\"#_ftn48\" name=\"_ftnref48\">[48]<\/a> daha spesifik olarak<a href=\"#_ftn49\" name=\"_ftnref49\">[49]<\/a> tanr\u0131sall\u0131\u011f\u0131na adanm\u0131\u015f kutsal alana at\u0131fta bulunan bir terim haline getiren \u015fey budur.<\/p><p>Ayr\u0131ca <strong>te&#8217;nin (na\u00f1a&#8217;ya <\/strong>e\u015fde\u011fer olan &#8220;<strong>t\u00e8 &#8220;nin <\/strong>homofonu oldu\u011fu i\u00e7in) sadece bir har\u00e7 de\u011fil, ayn\u0131 zamanda bir muhafaza, bir daire (dolay\u0131s\u0131yla dairesel bir muhafaza) ve &#8220;b\u00fct\u00fcnl\u00fck&#8221; anlam\u0131na geldi\u011fini g\u00f6rd\u00fck.<\/p><p>Ancak &#8220;hamile&#8221; teriminin, ta\u015f\u0131d\u0131\u011f\u0131 gizemi son derece a\u00e7\u0131\u011fa \u00e7\u0131karan ola\u011fan\u00fcst\u00fc bir \u00e7ift anlam\u0131 oldu\u011fu ortaya \u00e7\u0131kt\u0131.<\/p><p>Hiyeroglifte hamile bir kad\u0131n bkAt<img decoding=\"async\" class=\"alignnone size-full wp-image-14012\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image6.png\" alt=\"\" width=\"30\" height=\"17\" \/> <a href=\"#_ftn50\" name=\"_ftnref50\"><strong>[50]<\/strong><\/a> olarak adland\u0131r\u0131l\u0131r ve bir tap\u0131na\u011f\u0131n temeli ve zemini olarak muhafaza <strong>bkyt <\/strong>veya <strong>bAkAyt<\/strong><a href=\"#_ftn51\" name=\"_ftnref51\"><strong>[51]<\/strong><\/a> olarak adland\u0131r\u0131l\u0131r.<\/p><p><strong>Ay<\/strong>, <strong>A <\/strong>ve <strong>y <\/strong>M\u0131s\u0131r dilinde potansiyel olarak birbirinin yerine kullan\u0131labildi\u011finden, bu iki terim birbirine son derece yak\u0131nd\u0131r, hatta e\u015fde\u011ferdir<a href=\"#_ftn52\" name=\"_ftnref52\">[52]<\/a> .<\/p><p>Bu nedenle, etimolojik olarak <strong>bir tap\u0131na\u011f\u0131n temelinin, kutsal muhafazas\u0131n\u0131n hamile bir kad\u0131nla e\u015fanlaml\u0131 oldu\u011funu <\/strong>belirtmek olduk\u00e7a s\u0131ra d\u0131\u015f\u0131d\u0131r<strong>!<\/strong><a href=\"#_ftn53\" name=\"_ftnref53\"><strong>[53]<\/strong><\/a><\/p><p>Tap\u0131naklar\u0131n t\u00fcm sembolizmi a\u00e7\u0131k olsa bile (bu sembolizm 3. cilt olan Sembollerin Kutsal Kitab\u0131&#8217;nda ve megalitik tap\u0131naklar ve tarihi tap\u0131naklar hakk\u0131ndaki 6. ciltte ayr\u0131nt\u0131l\u0131 olarak incelenmi\u015ftir), sadece bu etimoloji, bu durumda M\u0131s\u0131r etimolojisi, mitolojik mistisizmdeki ger\u00e7e\u011fi son derece a\u00e7\u0131k bir \u015fekilde ortaya koymaktad\u0131r, Tap\u0131nak, ana tanr\u0131\u00e7an\u0131n bedeninin sembol\u00fc olarak d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015f ve tasarlanm\u0131\u015ft\u0131; dairesel temeliyle ana tanr\u0131\u00e7an\u0131n rahminin sadece do\u011furma g\u00fcc\u00fcn\u00fc de\u011fil, ayn\u0131 zamanda insanl\u0131\u011f\u0131n babas\u0131na yeni bir do\u011fum bah\u015federek onu bir tanr\u0131 haline getirme g\u00fcc\u00fcn\u00fc ve bunun uzant\u0131s\u0131 olarak da t\u00fcm dindar \u00e7ocuklar\u0131n\u0131 temsil ediyordu.<\/p><p>Ayr\u0131ca bunun sadece maddi d\u00fcnyan\u0131n de\u011fil, manevi d\u00fcnyan\u0131n da temeli olarak kabul edildi\u011fini ekleyebiliriz. Bu nedenle <strong>te ayn\u0131 <\/strong>zamanda b\u00fct\u00fcnl\u00fck anlam\u0131na da gelir. T\u00fcm d\u00fcnyan\u0131n k\u00f6kenidir ve t\u00fcm d\u00fcnyad\u0131r.<\/p><p>Elbette bu \u00e7e\u015fitli hususlar\u0131 ba\u015fka bir yerde geli\u015ftirme f\u0131rsat\u0131m\u0131z olacakt\u0131r.<\/p><p>Burada M\u0131s\u0131rca <strong>bkAt&#8217;\u0131n <\/strong>etimolojisine girmeyece\u011fim. Bunu ayr\u0131ca yapaca\u011f\u0131m, ancak burada s\u00f6ylenenlerin \u0131\u015f\u0131\u011f\u0131nda, bu kelime kolayca ayr\u0131\u015ft\u0131r\u0131labilir (<strong>ba-akA-t<\/strong>) ve bu kelimeyi \u00fcreten ilkel hamile kad\u0131n\u0131 tan\u0131mlamam\u0131za izin verir.<\/p><p>\u00c7\u00f6melmi\u015f ana tanr\u0131\u00e7an\u0131n analizine adanm\u0131\u015f bu makalenin mant\u0131\u011f\u0131 i\u00e7inde kesinlikle hat\u0131rlamam\u0131z ve anlamam\u0131z gereken \u015fey, ku\u015fkusuz, ana tanr\u0131\u00e7an\u0131n bir\u00e7ok y\u00fcz\u00fc ve ismi alt\u0131nda \u00e7\u00f6melmi\u015f pozisyonunun sadece klasik insan do\u011fumunu temsil etmek i\u00e7in tasarlanmad\u0131\u011f\u0131, ayn\u0131 zamanda son derece \u00f6nemli bir mecazi ve kutsal sembolik amaca sahip oldu\u011fu ve \u00f6l\u00fclerin \u00f6b\u00fcr d\u00fcnyada yeniden do\u011fu\u015funu sa\u011flama g\u00fcc\u00fcn\u00fc temsil etmeye hizmet etti\u011fidir. Bu kutsal sembolizm, kelime oyunu yap\u0131lmaks\u0131z\u0131n, tap\u0131naklar\u0131n kurulu\u015funda kullan\u0131lm\u0131\u015ft\u0131r.<\/p><p>Ayr\u0131ca, onu temsil etmek \u00fczere se\u00e7ilen semboller Havva ad\u0131yla ya da onun \u00e7e\u015fitli yak\u0131\u015ft\u0131rmalar\u0131yla kesinlikle e\u015fanlaml\u0131 oldu\u011fu i\u00e7in, bu ana tanr\u0131\u00e7an\u0131n kimli\u011fi \u00fczerindeki \u00f6rt\u00fcn\u00fcn bu makalede zaten epeyce kald\u0131r\u0131lm\u0131\u015f oldu\u011funu anlamam\u0131z gerekir.<\/p><p>Bu temsilin evrenselli\u011fini ve zamans\u0131zl\u0131\u011f\u0131n\u0131 teyit etmek i\u00e7in \u00e7\u00f6melmi\u015f tanr\u0131sall\u0131\u011f\u0131n di\u011fer baz\u0131 \u00f6rneklerine bakal\u0131m<\/p><p>\u00a0<\/p><h3><span style=\"color: #000000;\">MAYALAR<\/span><\/h3><p>\u00a0<\/p><p>\u0130\u015fte \u00e7\u00f6melmi\u015f Maya tanr\u0131lar\u0131n\u0131n baz\u0131 basit \u00f6rnekleri:<\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-14105\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image16.png\" alt=\"\" width=\"293\" height=\"199\" \/><\/p><p>\u015eekil 3: Madrid Maya Kodeksi<\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-14115\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image17.png\" alt=\"\" width=\"292\" height=\"249\" \/><\/p><p>\u015eekil 4: Madrid Maya Kodeksi<\/p><p>\u00a0<\/p><h3><span style=\"color: #000000;\">INDUS VADISI&#8217;NDEN LAJJA GAURI<\/span><\/h3><p>\u00a0<\/p><p>\u00c7\u00f6melmi\u015f tanr\u0131\u00e7an\u0131n bu temsilinin Hindistan&#8217;da hem sembolik hem de \u00e7ok eski olmas\u0131 dikkat \u00e7ekicidir.<\/p><p>Tanr\u0131\u00e7a Lajja Gauri \u00f6rne\u011fini ele alal\u0131m:<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-14955\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image34-224x300.jpg\" alt=\"\" width=\"224\" height=\"300\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image34-224x300.jpg 224w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image34.jpg 322w\" sizes=\"(max-width: 224px) 100vw, 224px\" \/><\/p><p><em>Devi bhakta &#8211; Ki\u015fisel \u00e7al\u0131\u015fma<\/em><\/p><p><em>\u00a0<\/em><\/p><p>Daha sonra g\u00f6rece\u011fimiz gibi, bu bacaklar\u0131n bir M olu\u015fturdu\u011funa dikkat edin.<\/p><p>Hinduizm&#8217;in 4 b\u00fcy\u00fck kutsal kitab\u0131ndan biri olan Rig Veda&#8217;ya g\u00f6re, hem ruhani hem de maddi evreni do\u011furan ana tanr\u0131\u00e7an\u0131n sembol\u00fcd\u00fcr.<\/p><p><em>&#8220;\u0130lahlar\u0131n ilk \u00e7a\u011f\u0131nda, varl\u0131k yokluktan do\u011fdu,<\/em><\/p><p><em>Bacaklar\u0131n\u0131 iki yana a\u00e7arak \u00e7\u00f6melen Celle&#8217;den g\u00f6k kubbenin d\u00f6rtte biri do\u011fdu.<\/em><\/p><p><em>D\u00fcnya, bacaklar\u0131n\u0131 a\u00e7arak \u00e7\u00f6melen bir kad\u0131ndan do\u011fdu.<\/em><\/p><p><em>Ve topraktan, g\u00f6k kubbenin d\u00f6rt bir yan\u0131 do\u011fdu.&#8221;<\/em><\/p><p><em>Rig Veda, 10.72.3-4<\/em><\/p><p><em>\u00a0<\/em><\/p><p>\u00c7\u00f6melmi\u015f ana tanr\u0131\u00e7an\u0131n cennetin ve d\u00fcnyan\u0131n, t\u00fcm evrenin kayna\u011f\u0131 oldu\u011fu varsay\u0131l\u0131r.<\/p><p>Bununla birlikte, ona atfedilen g\u00fcc\u00fcn, canl\u0131lar d\u00fcnyas\u0131 da dahil olmak \u00fczere d\u00fcnyan\u0131n &#8220;basit&#8221; yarat\u0131l\u0131\u015f\u0131n\u0131n \u00e7ok \u00f6tesine ge\u00e7ti\u011fini anlamak \u00f6nemlidir.\u00a0<\/p><p>\u00c7\u00fcnk\u00fc ana tanr\u0131\u00e7a bu haliyle sadece d\u00fcnyan\u0131n yarat\u0131c\u0131s\u0131 de\u011fildir. O ayn\u0131 zamanda d\u00fcnyan\u0131n yeniden yarat\u0131c\u0131s\u0131 olarak da sunulur.<\/p><p>Bu kayna\u011f\u0131n al\u0131nd\u0131\u011f\u0131 kitab\u0131n ba\u015fl\u0131\u011f\u0131 da buna at\u0131fta bulunuyor: &#8220;yarat\u0131c\u0131 ve yenileyici&#8221;.<\/p><p>Bu ayn\u0131 zamanda a\u015fa\u011f\u0131da g\u00f6rece\u011fimiz \u015feydir.<\/p><p>Bu ana tanr\u0131\u00e7an\u0131n ve bu formdaki temsilinin en eski antik \u00e7a\u011flara kadar uzand\u0131\u011f\u0131n\u0131 unutmay\u0131n, \u00e7\u00fcnk\u00fc en eski izleri arkeologlar taraf\u0131ndan 8.000 y\u0131ldan daha eski olarak tarihlendirilen \u0130ndus Vadisi&#8217;nin<a href=\"#_ftn54\" name=\"_ftnref54\">[54]<\/a> b\u00fcy\u00fck ana tanr\u0131\u00e7as\u0131 Shakti veya Devi k\u00fclt\u00fcnden al\u0131nm\u0131\u015ft\u0131r.<\/p><p>Bu iki ismin S\u00fcmerce&#8217;de Havva i\u00e7in kullan\u0131lan do\u011frudan isimler oldu\u011funu belirtmek gerekir.<\/p><p>\u00a0<\/p><h4><span style=\"color: #000000;\">S\u00dcMERCE SHAKTI<\/span><\/h4><p>\u00a0<\/p><p>\u00d6rne\u011fin, <strong>shakti <\/strong>kutsal S\u00fcmerce&#8217;de<strong> \u0161a-aka-ti <\/strong>olarak ayr\u0131l\u0131r<strong>:<\/strong><\/p><ul><li>(ilkel insan\u0131n analizinde g\u00f6rece\u011fimiz gibi,<strong> \u0161a <\/strong>onu belirleyebiliyorsa)<strong> \u0161a<\/strong><a href=\"#_ftn55\" name=\"_ftnref55\">[55]<\/a> (ayn\u0131 zamanda) beden, rahim anlam\u0131na gelir! orta, i\u00e7, ba\u011f\u0131rsaklar, kalp, mide, kar\u0131n, ba\u011f\u0131rsaklar, nehir yata\u011f\u0131, v\u00fccut s\u0131v\u0131lar\u0131, su veya tah\u0131l veya idrar ve d\u0131\u015fk\u0131 i\u00e7eren i\u00e7i bo\u015f bir kap; ve seste\u015fleri <strong>sag9, \u0161ag5<\/strong><strong>, <\/strong><strong>sig6, sa6, \u0161a6 <\/strong>ilahi l\u00fctuf, iyi talih, do\u011furganl\u0131k anlam\u0131na gelir<a href=\"#_ftn56\" name=\"_ftnref56\">[56]<\/a> .<\/li><\/ul><ul><li><strong>a-ka <\/strong>\u00fcreyen anne, genetrix anlam\u0131na gelir (<strong>a-ka&#8217;n\u0131n<\/strong><strong> \u00fagu<\/strong><a href=\"#_ftn57\" name=\"_ftnref57\">[57]<\/a> e\u015fde\u011ferine sahip oldu\u011funu ve e\u015fsesli<strong> \u00fagu4 <\/strong>(KU) s\u00f6zc\u00fc\u011f\u00fcn\u00fcn do\u011furmak, \u00fcretmek anlam\u0131na geldi\u011fini unutmay\u0131n )<a href=\"#_ftn58\" name=\"_ftnref58\">[58]<\/a><\/li><\/ul><ul><li><strong>ti <\/strong>ile &#8220;kaburga kemi\u011fi, yan (e\u015f, yolda\u015f), ok&#8221;; <strong>t\u00ecla, t\u00ecl ile <\/strong>e\u015fde\u011fer <strong>ti <\/strong>ile &#8220;hayat, hayat veren, t\u00fcm ya\u015fayanlar\u0131n annesi&#8221; Havva gibi <strong>haya, hava, hawa<\/strong>; ve ti ile e\u015fde\u011fer <strong>tum, aka, <\/strong>bunlar\u0131n anlam\u0131 &#8220;yapan, eyleyen&#8221;).<\/li><\/ul><p>Daha sonra, her zaman gelip bize \u015funu s\u00f6yleyebilirsiniz:<\/p><p>&#8220;\u015eakti her varl\u0131\u011f\u0131n di\u015fil unsurunu temsil eder ve \u00f6zde\u015fle\u015fti\u011fi kozmik enerjiyi simgeler. \u015eakti genellikle Tezah\u00fcr Etmemi\u015f Olan&#8217;\u0131, Baba&#8217;y\u0131 temsil eden \u00c7iva ile i\u00e7 i\u00e7edir, kendisi ise Tezah\u00fcr Etmi\u015f Olan&#8217;d\u0131r, ilahi Anne&#8217;dir. Deneyimlenen \u00c7iva \u015eakti&#8217;ye d\u00f6n\u00fc\u015f\u00fcr. Fakat orijinal birli\u011fini yeniden kazanmak i\u00e7in tekrar onunla birle\u015fmek zorundad\u0131r. Siva ve \u015eakti Mutlak&#8217;ta birdir, birli\u011fin eril ve di\u015fil iki y\u00f6n\u00fcd\u00fcr&#8221;. (CHEVALIER-GHEEBRANT, Dictionnaire des Symboles, 2005, s. 881)&#8230;<\/p><p>&#8230; Ancak bu s\u00f6zde &#8216;kozmik anne&#8217;, ebedi di\u015filin cisimle\u015fmi\u015f hali, hi\u00e7 kimseyi, daha do\u011frusu yaln\u0131zca insanl\u0131\u011f\u0131n ilksel annesinin ard\u0131nda sakl\u0131 oldu\u011fu g\u00f6r\u00fcn\u00fc\u015f perdesini kald\u0131ramayanlar\u0131 kand\u0131ramayacakt\u0131r.<\/p><p>Kutsal S\u00fcmerce ve Sanskrit\u00e7e aras\u0131ndaki ba\u011flant\u0131 ve &#8216;aka&#8217;n\u0131n ilksel anne Havva&#8217;ya at\u0131fta bulunmad\u0131\u011f\u0131 konusunda herhangi bir \u015f\u00fcpheniz varsa, size sadece bu basit ger\u00e7e\u011fi hat\u0131rlatmak isterim (Havva ad\u0131n\u0131 analiz ederken aktarma f\u0131rsat\u0131 bulaca\u011f\u0131m say\u0131s\u0131z di\u011fer \u00f6rnek aras\u0131nda):<\/p><p>\u00a0<\/p><h4><span style=\"color: #000000;\">SANSKRIT\u00c7E AKKA<\/span><\/h4><p>\u00a0<\/p><p>\u0130\u015fte Sanskrit\u00e7e AK k\u00f6k\u00fcn\u00fcn farkl\u0131 varyasyonlar\u0131<a href=\"#_ftn59\" name=\"_ftnref59\">[59]<\/a> :<\/p><p><em>\u0905<\/em> <em>A, tek heceli. \u00f4\u1e43, vi\u015b\u1e47u&#8217;yu temsil eder.<\/em><\/p><p><em>\u0905<\/em> <em>\u0915\u094d<\/em> <em>A K. <strong>ak\u00e2mi <\/strong>&#8211;) dolamba\u00e7l\u0131 gitmek, dolanmak; dolamba\u00e7l\u0131 bir \u015fekilde hareket etmek anlam\u0131na gelir. Gr. \u1f00\u03b3\u03ae\u03c2<\/em><em>, \u1f00\u03b3\u03f0\u03cd\u03bb\u03bf\u03c2<\/em><em> (ag\u00eas, agkulos).<\/em><\/p><p><em>\u0905\u0915<\/em> <strong><em>AKA <\/em><\/strong><em>&#8211;) n. g\u00fcnah, hata; \u2016 keder, \u00fcz\u00fcnt\u00fc.<\/em><\/p><p><em>\u0905\u0915\u094d\u0915\u093e<\/em><em> <strong>AKK\u00c2 <\/strong>&#8211;) f. anne.<\/em><\/p><p><strong>Bu nedenle Sanskrit\u00e7ede Akk\u00e2 sadece Anne anlam\u0131na gelmez, ayn\u0131 zamanda (Sanskrit\u00e7e ak\u00e2mi&#8217;nin belirtti\u011fi) dolamba\u00e7l\u0131 eylemle, (Sanskrit\u00e7e e\u015fsesli aka&#8217;n\u0131n belirtti\u011fi) hata, g\u00fcnah ve bunun sonucunda ortaya \u00e7\u0131kan keder ve \u00fcz\u00fcnt\u00fcyle do\u011frudan etimolojik ili\u015fki i\u00e7inde <\/strong>\u00e7ok a\u00e7\u0131k bir a\u015fa\u011f\u0131lay\u0131c\u0131 \u00e7a\u011fr\u0131\u015f\u0131ma sahiptir.<\/p><p><strong>\u00a0<\/strong>G\u00fcnah, hata, haks\u0131z eylem, ac\u0131 ve keder gibi kavramlar\u0131n anlamsal olarak t\u00fcm n\u00f6tr ve mutlak enerjinin kayna\u011f\u0131 olarak tasvir edilen bir &#8216;kozmik ana tanr\u0131\u00e7a&#8217; ile ili\u015fkilendirilmesinin en hafif tabirle garip oldu\u011funu kabul etmeliyiz&#8230;<\/p><p>\u00d6te yandan, ilkel insan annenin ya\u015fam\u0131ndaki olaylarla m\u00fckemmel bir \u015fekilde \u00f6rt\u00fc\u015ft\u00fc\u011f\u00fc a\u00e7\u0131kt\u0131r.<\/p><p>Bir kez daha ifade etmek gerekirse, bu, eksiksiz bir \u015fekilde listelemeye gayret edece\u011fim s\u00fcrekli bir kan\u0131t ak\u0131\u015f\u0131n\u0131n sadece bir lifidir.<\/p><p>Sanskrit\u00e7e ak\u00e2mi ile ilgili olarak, sanki bu yeterli de\u011filmi\u015f gibi, S\u00fcmerce&#8217;de <strong>&#8220;m\u00ed &#8220;nin bir <\/strong>di\u015fiyi<a href=\"#_ftn60\" name=\"_ftnref60\">[60]<\/a> bir oyu\u011fu, siyah ya da karanl\u0131k bir \u015feyi ya da birini<a href=\"#_ftn61\" name=\"_ftnref61\">[61]<\/a> t\u0131pk\u0131 e\u015fanlaml\u0131s\u0131 <strong>k\u00fakku <\/strong>gibi bir atay\u0131<a href=\"#_ftn62\" name=\"_ftnref62\">[62]<\/a> belirtti\u011fini de not etmeliyiz.<\/p><p>O halde, a\u00e7\u0131k\u00e7as\u0131, atam\u0131z\u0131n, ilksel annenin, i\u015fkenceci eylemleri nedeniyle \u00f6l\u00fcme mahkum edilmesi ve ard\u0131ndan tanr\u0131la\u015ft\u0131r\u0131larak, \u00f6l\u00fcler d\u00fcnyas\u0131n\u0131n tanr\u0131\u00e7as\u0131 olan ve ma\u011faradan, rahminden ona h\u00fckmeden khtonian bir ilah olarak temsil edilmesinin \u015fa\u015fk\u0131nl\u0131\u011f\u0131 nerede?<\/p><p><strong>Dolay\u0131s\u0131yla Sha-aka-ti, hem S\u00fcmerce hem de Sanskrit\u00e7e&#8217;de, ilksel anne Havva&#8217;n\u0131n m\u00fckemmel bir avatar\u0131d\u0131r ve ona atfedilen ilahi g\u00fc\u00e7, kocas\u0131n\u0131 &#8216;\u0161a&#8217;, rahmi ve dolay\u0131s\u0131yla t\u00fcm \u00f6l\u00fcler arac\u0131l\u0131\u011f\u0131yla yeniden canland\u0131rarak, her \u015feyin yarat\u0131l\u0131\u015f\u0131n\u0131n ve yeniden yarat\u0131l\u0131\u015f\u0131n\u0131n k\u00f6keninde, g\u00f6klerin ve yerin tanr\u0131\u00e7as\u0131 mertebesine y\u00fckseltilmi\u015ftir.<\/strong><\/p><p><em>\u00a0<\/em><\/p><h3><span style=\"color: #000000;\">AUXERRE M\u00dcZESI\u0307&#8217;NDE ANA TANRI\u00c7A VE &#8220;\u00c7\u00d6MELEN TANRI &#8220;DAN OLU\u015eAN BI\u0307R GRUP<\/span><\/h3><p>\u00a0<\/p><p>Fransa&#8217;da, Mus\u00e9e d&#8217;Auxerre&#8217;de \u00e7ok ilgin\u00e7 baz\u0131 heykeller bulunabilir (a\u015fa\u011f\u0131daki sa\u011fdaki resme bak\u0131n\u0131z).<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-14965\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image35-300x222.png\" alt=\"\" width=\"300\" height=\"222\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image35-300x222.png 300w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image35.png 416w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p><p>\u015eekil 1 &#8211; Capua&#8217;n\u0131n ana tanr\u0131\u00e7as\u0131.<\/p><p>\u015eekil 2 &#8211; Auxerre&#8217;in ana tanr\u0131\u00e7as\u0131. Yeniden yap\u0131land\u0131rma.<\/p><p>\u00a0<\/p><h4><span style=\"color: #000000;\">G\u00d6ZLEMLER<\/span><\/h4><p>\u00a0<\/p><p>\u00dc\u00e7 fig\u00fcrden olu\u015fur: Ana tanr\u0131\u00e7a bask\u0131n pozisyonda, sa\u011f elinde \u00f6l\u00fcms\u00fczl\u00fck elmas\u0131, kuca\u011f\u0131nda bir \u00e7ocuk ve sol koluyla<a href=\"#_ftn63\" name=\"_ftnref63\">[63]<\/a> yan\u0131nda \u00e7\u00f6melmi\u015f par\u00e8dre.<\/p><p>Bu heykel hakk\u0131nda at\u0131fta bulundu\u011fum makalenin yazar\u0131 Bay Benoit Fernand, bu ana tanr\u0131\u00e7an\u0131n bir Courotroph tanr\u0131\u00e7as\u0131 (yani bir hem\u015fire) oldu\u011funu, Ceres-Demeter ve asl\u0131nda isimleri ne olursa olsun t\u00fcm ana tanr\u0131\u00e7alarla ili\u015fkili oldu\u011funu ve Do\u011fa&#8217;n\u0131n, Toprak Ana&#8217;n\u0131n bir ki\u015file\u015ftirmesi oldu\u011funu belirtmektedir<a href=\"#_ftn64\" name=\"_ftnref64\">[64]<\/a> .<\/p><p>Malta tap\u0131naklar\u0131n\u0131n gizemini \u00e7\u00f6zme yaz\u0131s\u0131nda inceledi\u011fimiz Malta Ana Tanr\u0131\u00e7as\u0131 ve daha sonra ele alma f\u0131rsat\u0131 bulaca\u011f\u0131m\u0131z di\u011fer Ana Tanr\u0131\u00e7alar gibi ba\u015fs\u0131z tasvir edildi\u011fine de dikkatinizi \u00e7ekmek isterim. Asl\u0131nda, 2. Ciltte Ana Tanr\u0131\u00e7a&#8217;n\u0131n evrensel olarak ba\u015fs\u0131z temsil edilmesinin nedenini ayr\u0131nt\u0131l\u0131 olarak inceleyece\u011fiz.<\/p><p>Ayr\u0131ca paredirinin boynuzlu bir tanr\u0131yla ili\u015fkilendirildi\u011fine ve soluna do\u011fru \u00e7\u00f6melmi\u015f<a href=\"#_ftn65\" name=\"_ftnref65\">[65]<\/a> a\u015fa\u011f\u0131l\u0131k bir konumda ve ayn\u0131 zamanda \u00f6l\u00fcm uykusunu \u00e7a\u011fr\u0131\u015ft\u0131ran bir uyku hali olan g\u00f6zleri kapal\u0131 bir \u015fekilde uykuda temsil edildi\u011fine dikkatinizi \u00e7ekmek isterim<a href=\"#_ftn66\" name=\"_ftnref66\">[66]<\/a> .<\/p><p>Ayr\u0131ca \u00e7ocu\u011fun kundaklanm\u0131\u015f olarak tasvir edildi\u011fini ve bazen bir yaban domuzu ile de\u011fi\u015ftirildi\u011fini de unutmay\u0131n<a href=\"#_ftn67\" name=\"_ftnref67\">[67]<\/a> . Sarg\u0131 bezlerinin sembolizminin kutsal anlam\u0131n\u0131 (kordonlar tanr\u0131\u00e7as\u0131 veya ba\u011flayan ki\u015finin sembolizmine at\u0131fta bulunur) ve yaban domuzu sembolizmini ayr\u0131, \u00f6zel makalelerde a\u00e7\u0131klayaca\u011f\u0131m.<\/p><p>\u00c7ocu\u011fa gelince, &#8220;\u00f6l\u00fcm uykusunda&#8221; olan tanr\u0131\u00e7a-annenin par\u00e8dre&#8217;inin aksine, en hafif tabirle, \u00e7ok canl\u0131 oldu\u011funa dikkat edin, \u00e7\u00fcnk\u00fc ithifalik pozisyonda<a href=\"#_ftn68\" name=\"_ftnref68\">[68]<\/a> (yani cinsel organ\u0131 dik olarak) temsil edilmektedir.<\/p><p>Bu birka\u00e7 temel g\u00f6zlemden sonra soru \u015fudur: Bu sahne ne anlama gelmektedir? Ve burada ele ald\u0131\u011f\u0131m\u0131z makaleyle ba\u011flant\u0131l\u0131 olarak, ana tanr\u0131\u00e7an\u0131n paredras\u0131 neden \u00e7\u00f6melmi\u015f bir pozisyondad\u0131r?<\/p><p>\u00a0<\/p><h4><span style=\"color: #000000;\">BU SAHNE NE ANLAMA GELIYOR?<\/span><\/h4><p>\u00a0<\/p><h5><span style=\"color: #000000;\">\u00d6NCEKI ARA\u015eTIRMACILAR NE D\u00dc\u015e\u00dcN\u00dcYOR :<\/span><\/h5><p>\u00a0<\/p><p>Bu heykeli inceleyen referans makalenin yazar\u0131 Bay Benoit Ferand&#8217;a g\u00f6re, \u00e7ocuk (etruskolog ve arkeolog Jacques Heurgon&#8217;un daha \u00f6nce \u00f6ne s\u00fcrd\u00fc\u011f\u00fc gibi) klasik anneli\u011fi, do\u011fumu de\u011fil, \u00f6l\u00fcm\u00fcyle birlikte rahmine, Toprak Ana&#8217;n\u0131n koynuna kabul edilen<a href=\"#_ftn69\" name=\"_ftnref69\">[69]<\/a> merhumu temsil etmek i\u00e7in kullan\u0131lm\u0131\u015ft\u0131r<a href=\"#_ftn70\" name=\"_ftnref70\">[70]<\/a> .<\/p><p>Bu fikri g\u00fc\u00e7lendiren \u015fey, Tourettes-sur-Loup&#8217;daki heykelde ana tanr\u0131\u00e7an\u0131n kuca\u011f\u0131nda sol elini koydu\u011fu \u00e7ocuk yerine kesik bir ba\u015f tuttu\u011fu g\u00f6zlemidir<a href=\"#_ftn71\" name=\"_ftnref71\">[71]<\/a> . Buradan, kesik ba\u015f\u0131n \u00f6l\u00fcy\u00fc temsil etti\u011fi, \u00f6lenin ikizi oldu\u011fu ve \u00e7ocu\u011fa verilecek anlam\u0131n da bu oldu\u011fu sonucunu \u00e7\u0131karm\u0131\u015ft\u0131r . <a href=\"#_ftn72\" name=\"_ftnref72\">[72]<\/a><\/p><p>Ana tanr\u0131\u00e7an\u0131n bu temsilinin \u00f6l\u00fclerin yeniden do\u011fu\u015fuyla ba\u011flant\u0131l\u0131 oldu\u011fu ger\u00e7e\u011fine gelince, Frans\u0131z akademisyenler Camille Jullian ve Salomon Reinach&#8217;\u0131n bulgular\u0131n\u0131n, en az\u0131ndan bu t\u00fcr bir temsilin ger\u00e7ekten de \u00f6l\u00fclerin yeniden do\u011fu\u015funu i\u00e7erdi\u011fini g\u00f6stermesi a\u00e7\u0131s\u0131ndan ilgin\u00e7 oldu\u011funu belirtiyor.<\/p><p>Bay Benoit Fernand hakl\u0131 olarak ana tanr\u0131\u00e7an\u0131n ya\u015fayanlar d\u00fcnyas\u0131n\u0131n oldu\u011fu kadar \u00f6l\u00fcler d\u00fcnyas\u0131n\u0131n da tanr\u0131\u00e7as\u0131 oldu\u011funa ve <em>&#8220;mezar\u0131n koruyucusu <\/em>olarak <em>ya\u015fam\u0131 ileten ki\u015fi&#8221; oldu\u011funa <\/em>i\u015faret eder <a href=\"#_ftn73\" name=\"_ftnref73\"><em><strong>[73]<\/strong><\/em><\/a><\/p><p>Camille Julian&#8217;\u0131n (mitoloji ve dinin animist veya totemistik bir okumas\u0131n\u0131n savunucusu olan Salomon Reinach&#8217;\u0131n g\u00f6r\u00fc\u015f\u00fcn\u00fc payla\u015fan) onda sadece &#8220;&#8216;<em>Toprak Ana&#8217;n\u0131n ki\u015file\u015ftirilmesini&#8221; <\/em>g\u00f6rmekle kalmad\u0131\u011f\u0131n\u0131<em>, ayn\u0131 <\/em>zamanda &#8220;onun &#8216;<em>\u00f6l\u00fcleri yeniden canland\u0131rmas\u0131 gerekti\u011fini<\/em>&#8216; <em>iddia etmekten korkmad\u0131\u011f\u0131n\u0131&#8221; <\/em>bildirmeye devam eder: &#8220;bu <em>nedenle&#8221;, <\/em>der, &#8220;<em>iskeletlerin \u00e7\u00f6melme pozisyonu&#8221;<\/em><a href=\"#_ftn74\" name=\"_ftnref74\"><em><strong>[74]<\/strong><\/em><\/a><em> .<\/em><\/p><p><em>\u00a0<\/em><\/p><h5><span style=\"color: #000000;\">BU SAHNENIN GER\u00c7EK ANLAMI<\/span><\/h5><p>\u00a0<\/p><p>Bu sahneyi do\u011fru anlamak istiyorsak, olaylar\u0131 bir perspektife oturtmam\u0131z ve sembolizmin farkl\u0131 d\u00fczeylerini \u00f6l\u00e7eklendirmemiz gerekir.<\/p><p>Bu \u015fekilde tasvir edilen ana tanr\u0131\u00e7an\u0131n \u00f6l\u00fcler d\u00fcnyas\u0131n\u0131n ana tanr\u0131\u00e7as\u0131 oldu\u011funu ve onlar\u0131 yeniden canland\u0131rma g\u00fcc\u00fcne sahip oldu\u011funu g\u00f6stermeye hizmet etti\u011fini s\u00f6ylemek do\u011fru olsa da, d\u00fczeltilmesi gereken bir\u00e7ok hata da vard\u0131r.<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">ana tanr\u0131\u00e7a : ilksel anne, bir hipostaz de\u011fil<\/span><\/h6><p>\u00a0<\/p><p>Animist, totemik ya da \u015famanik vizyonun destek\u00e7ilerinden sistematik olarak okudu\u011fumuz \u00fczere, ana tanr\u0131\u00e7an\u0131n yaln\u0131zca D\u00fcnya&#8217;n\u0131n bir hipostaz\u0131 oldu\u011funu, ba\u015fka bir deyi\u015fle (bili\u015fsel a\u00e7\u0131dan biz Bat\u0131l\u0131lardan daha az donan\u0131ml\u0131 oldu\u011fu anla\u015f\u0131lan) ilkel topluluklar taraf\u0131ndan bir tanr\u0131\u00e7aya d\u00f6n\u00fc\u015ft\u00fcr\u00fclen D\u00fcnya&#8217;n\u0131n ki\u015file\u015ftirilmesi oldu\u011funu s\u00f6ylemek asl\u0131nda yanl\u0131\u015ft\u0131r.<\/p><p>\u0130lahi isimlerin ve mitolojideki sembollerin dilinin dayand\u0131\u011f\u0131 ve tam anlamlar\u0131n\u0131 kavramam\u0131z\u0131 sa\u011flayan kutsal S\u00fcmer ve hiyeroglif dillerinin, iddia edilen hipostaz a\u00e7\u0131s\u0131ndan Ana Tanr\u0131\u00e7a&#8217;n\u0131n, tam <u>tersine, ne <\/u>ilkel insan, ne de D\u00fcnya&#8217;n\u0131n ve Yeralt\u0131 D\u00fcnyas\u0131&#8217;n\u0131n tanr\u0131la\u015ft\u0131r\u0131lm\u0131\u015f Ana Tanr\u0131\u00e7as\u0131 olan Havva&#8217;dan daha az ne de daha fazla, \u00e7ok ger\u00e7ek bir ki\u015fi oldu\u011funu g\u00f6stermek i\u00e7in bolca f\u0131rsat\u0131m\u0131z olacak &#8211; ve bu makale binlercesinden sadece biri olacak -. O basit\u00e7e ruhlar\u0131n, tanr\u0131la\u015ft\u0131r\u0131lm\u0131\u015f atalar\u0131n ilkiydi! Ve \u00f6l\u00fcleri yeniden canland\u0131rma g\u00fcc\u00fc ona atfedilmi\u015ftir.<\/p><p>Her g\u00f6ky\u00fcz\u00fcn\u00fcn alt\u0131nda \u00e7e\u015fitli isimler alt\u0131nda a\u00e7\u0131k\u00e7a ve do\u011frudan adland\u0131r\u0131lmakla kalmay\u0131p, hayat\u0131ndaki her olay\u0131n mitolojide kesinlikle anlat\u0131ld\u0131\u011f\u0131n\u0131 kapsaml\u0131 bir \u015fekilde g\u00f6rece\u011fiz (ve ayn\u0131 \u015fey ilk insan Adem i\u00e7in de ge\u00e7erli&#8230;; olaylar k\u0131sm\u0131 i\u00e7in 2. cilt g\u00f6z kama\u015ft\u0131r\u0131c\u0131 bir g\u00f6steri sunacak).<\/p><p>T\u00fcm bu se\u00e7kin yazarlar\u0131n, di\u011ferleri gibi, bunu g\u00f6rmelerini ve anlamalar\u0131n\u0131 engelleyen \u015feyin, di\u011fer \u015feylerin yan\u0131 s\u0131ra, eski diller a\u00e7\u0131s\u0131ndan genellikle Yunanca veya \u0130branice ile s\u0131n\u0131rl\u0131 olan dilbilimsel uzmanl\u0131klar\u0131 oldu\u011fu s\u00f6ylenmelidir, ki bunlar asl\u0131nda dilbilim ve tarih a\u00e7\u0131s\u0131ndan \u00e7ok yeni dillerdir ve kesinlikle t\u00fcm kutsal sembolizmin dayand\u0131\u011f\u0131 diller de\u011fildir. S\u00fcmerce ve Hiyeroglif gibi temel diller hakk\u0131ndaki bu bilgi eksikli\u011fi, zorunlu olarak, mitolojik anlat\u0131lar\u0131n kilit ta\u015f\u0131 olan sembollerin anlam\u0131n\u0131, sembolizmi anlamamalar\u0131na yol a\u00e7m\u0131\u015ft\u0131r. Ve bu sembolik dili anlamadan, mitlerin anlatt\u0131\u011f\u0131 ger\u00e7ek hikayeye ya da vaaz ettikleri dinin do\u011fas\u0131na eri\u015fmek imkans\u0131zd\u0131r.<\/p><p>Ancak bu temsilin anlam\u0131na geri d\u00f6nelim:<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">Birinci seviye bir okuma: \u00fc\u00e7l\u00fc<\/span><\/h6><p>\u00a0<\/p><p>Her \u015feyden \u00f6nce, ana tanr\u0131\u00e7an\u0131n kollar\u0131ndaki o\u011flun, her \u015feyden \u00f6nce, par\u00e8dre&#8217;sinin, kocas\u0131n\u0131n, e\u015finin, \u00f6lm\u00fc\u015f olan\u0131n, ayaklar\u0131n\u0131n dibinde \u00e7\u00f6melmi\u015f olan\u0131n reenkarnasyonu oldu\u011funu anlamak kesinlikle \u00e7ok \u00f6nemlidir.<\/p><p>\u00c7ocu\u011fa verilecek ilk anlam, herhangi bir \u00f6lm\u00fc\u015f ki\u015fi anlam\u0131nda \u00f6lm\u00fc\u015f olan\u0131 temsil etti\u011fi de\u011fildir.<\/p><p>\u00c7\u00fcnk\u00fc merhum her \u015feyden \u00f6nce tanr\u0131lar\u0131n babas\u0131, vaftiz babas\u0131d\u0131r.<\/p><p>Ve bu temsilde, merhum \u00e7\u00f6melmi\u015f vaftiz babas\u0131d\u0131r.<\/p><p>\u00c7ocuk, \u00f6lm\u00fc\u015f olan vaftiz babas\u0131n\u0131 de\u011fil, vaftiz babas\u0131n\u0131n ne <u>olaca\u011f\u0131n\u0131 <\/u>temsil eder; \u00f6l\u00fcler d\u00fcnyas\u0131ndan d\u00f6nd\u00fc\u011f\u00fcnde yeniden do\u011fmu\u015f olan vaftiz babas\u0131n\u0131 belirtir.<\/p><p>Mesaj \u015fudur: Ben her \u015feye g\u00fcc\u00fc yetenim ve rahmimin g\u00fcc\u00fcyle kocama ve e\u015fime, tanr\u0131lar\u0131n babas\u0131na ya\u015fam\u0131 geri verebilirim ve \u00f6l\u00fcm\u00fcnden \u00f6nce bana do\u011furdu\u011fu o\u011flumuz bi\u00e7iminde ona ya\u015fam\u0131 geri verebilirim.<\/p><p>Bu, kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z b\u00fcy\u00fck klasik \u00fc\u00e7l\u00fcden ne daha fazla ne de daha azd\u0131r: baba, anne ve baban\u0131n reenkarnasyonu olan o\u011ful.<\/p><p>\u00c7ocu\u011fun ithifal pozisyonda olmas\u0131 sadece hayatta oldu\u011funu de\u011fil, ayn\u0131 zamanda baba oldu\u011funu da g\u00f6sterir, \u00e7\u00fcnk\u00fc g\u00f6rece\u011fimiz gibi, tanr\u0131lar\u0131n babas\u0131 sadece insanl\u0131\u011f\u0131n babas\u0131 olarak stat\u00fcs\u00fcn\u00fc de\u011fil, ayn\u0131 zamanda kendi \u00f6zel durumunda anneyi hamile b\u0131rakma ve b\u00f6ylece kendisine yeni bir do\u011fum verme yetene\u011fini de g\u00f6stermek i\u00e7in d\u00fczenli olarak ithifal pozisyonda temsil edilirdi.<\/p><p>\u00c7ocu\u011fun yerini bazen bir kafatas\u0131n\u0131n almas\u0131na gelince, bu da onun tanr\u0131lar\u0131n \u00f6lm\u00fc\u015f babas\u0131na yeniden hayat verme g\u00fcc\u00fcne sahip oldu\u011funu g\u00f6stermeye hizmet eder. Her durumda, \u00e7ocuk ya da kafatas\u0131, her ikisi de her \u015feyden \u00f6nce tanr\u0131lar\u0131n babas\u0131na at\u0131fta bulunur; ya \u00e7ocuk s\u00f6z konusu oldu\u011funda yeniden canlanm\u0131\u015ft\u0131r ya da kafatas\u0131 s\u00f6z konusu oldu\u011funda yeniden canlanma s\u00fcrecindedir. Kafatas\u0131n\u0131n varl\u0131\u011f\u0131yla ba\u011flant\u0131l\u0131 olarak, ma\u011faran\u0131n bir mikrokozmosu olan ve do\u011frudan ana tanr\u0131\u00e7an\u0131n rahmine at\u0131fta bulunan ve d\u00fcnyan\u0131n ortaya \u00e7\u0131kmas\u0131na veya yeniden ortaya \u00e7\u0131kmas\u0131na neden olan sembolizmini bilmek ve anlamak da \u00e7ok \u00f6nemlidir. Dolay\u0131s\u0131yla bu kafatas\u0131, \u00f6lm\u00fc\u015f bir ki\u015finin basit sembolizminin \u00e7ok \u00f6tesine ge\u00e7mektedir.<\/p><p>\u00a0<\/p><h6><span style=\"color: #000000;\">\u0130kinci d\u00fczey bir okuma: ibadet edenlere mesaj<\/span><\/h6><p>\u00a0<\/p><p>\u0130kinci olarak, bu temsilin ayn\u0131 zamanda bu \u00fc\u00e7l\u00fcye tapan paganlara a\u00e7\u0131k bir mesaj g\u00f6nderdi\u011fi do\u011frudur, ne daha fazla ne daha az: \u00f6l\u00fcms\u00fczl\u00fck vaadi.<\/p><p>\u00c7\u00fcnk\u00fc baban\u0131n ya\u015fad\u0131klar\u0131, ona tapanlara, ana tanr\u0131\u00e7an\u0131n g\u00fcc\u00fcn\u00fc tan\u0131malar\u0131 ve ona tap\u0131nmalar\u0131 ko\u015fuluyla kendilerinin de ayn\u0131 \u015feyi ya\u015fayacaklar\u0131na dair bir vaattir.<\/p><p>Mesaj \u015fudur: t\u0131pk\u0131 ana tanr\u0131\u00e7a matrisinin tanr\u0131lar\u0131n babas\u0131 i\u00e7in yapt\u0131\u011f\u0131 gibi, \u00f6ld\u00fc\u011f\u00fcn\u00fczde sizi de yeniden yaratma yetene\u011fine, g\u00fcc\u00fcne sahiptir.<\/p><p>Bu y\u00fczden onlara \u00f6l\u00fcms\u00fczl\u00fck elmas\u0131n\u0131 veriyor.<\/p><p>Zaman\u0131nda kendisine verilen ayn\u0131 s\u00f6ze inanarak ele ge\u00e7irdi\u011fi s\u00f6z\u00fcn ayn\u0131s\u0131&#8230;<\/p><p>Ancak sahneyi g\u00f6ren tap\u0131nanlara (&#8220;lambda \u00f6l\u00fcleri&#8221; diyebilirsiniz) hitap eden bu mesaj\u0131n <u>ikinci d\u00fczey bir <\/u>anlam oldu\u011funu anlamak \u00f6nemlidir.<\/p><p>Ve tap\u0131nanlar s\u00f6z konusu oldu\u011funda, \u00e7ocuk \u00f6len tap\u0131nan\u0131 da temsil etmez, ne ise odur, ama bir kez daha \u00f6l\u00fcler diyar\u0131ndan d\u00f6nd\u00fc\u011f\u00fcnde ne olaca\u011f\u0131n\u0131 temsil eder; \u00f6lenin olmay\u0131 arzulayabilece\u011fi \u015feyi temsil eder, yani o da yeniden do\u011far, atas\u0131 gibi tanr\u0131sall\u0131\u011f\u0131 arzular<a href=\"#_ftn75\" name=\"_ftnref75\">[75]<\/a> .<\/p><p>\u00a0<\/p><h5><span style=\"color: #000000;\">TANRILARIN BABASININ \u00c7\u00d6MELMESI\u0307NI\u0307N NEDENI\u0307<\/span><\/h5><p><em>\u00a0<\/em><\/p><p>\u00c7\u00f6melme konusuna gelince, tanr\u0131lar\u0131n babas\u0131n\u0131n solda ve ana tanr\u0131\u00e7an\u0131n alt\u0131nda \u00e7\u00f6melme pozisyonunun ona olan ba\u011f\u0131ml\u0131l\u0131\u011f\u0131n\u0131 sembolize etti\u011fini s\u00f6ylemek do\u011fru olur.<\/p><p>Bu sahne a\u00e7\u0131k\u00e7a g\u00f6stermektedir ki ana tanr\u0131\u00e7aya bah\u015fedilen kefaret ve yeniden canland\u0131rma g\u00fcc\u00fc ona \u00fcst\u00fcn bir rol verilmesine yard\u0131mc\u0131 olmu\u015ftur. Anaerkil k\u00fclt\u00fc destekleyenler ne d\u00fc\u015f\u00fcn\u00fcrse d\u00fc\u015f\u00fcns\u00fcn, g\u00f6rece\u011fimiz gibi bu hi\u00e7bir \u015fekilde ataerkil bir k\u00fclt olmad\u0131\u011f\u0131 anlam\u0131na gelmez, \u00e7\u00fcnk\u00fc ikisi bir arada var olmu\u015f ve birbirini beslemi\u015ftir. Benoit, \u00f6rne\u011fin, anaerkil nitelikleri (\u00e7\u00f6melme, bereket boynuzu) ve ataerkil nitelikleri (Cernunnos geyik boynuzlar\u0131) birle\u015ftiren Besan\u00e7on&#8217;un \u00e7\u00f6melen tanr\u0131\u00e7as\u0131 \u00f6rne\u011finden bahseder.<a href=\"#_ftn76\" name=\"_ftnref76\">[76]<\/a><\/p><p>Tanr\u0131lar\u0131n babas\u0131n\u0131n \u00e7\u00f6melmi\u015f pozisyonunun anlam\u0131n\u0131 anlamak istiyorsak, bunu bu temsilin genel ba\u011flam\u0131na yerle\u015ftirmemiz gerekir; g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi bu temsilin ana temas\u0131, \u00f6l\u00fclerin ana rahmine, yani kar\u0131s\u0131 olan b\u00fcy\u00fck tanr\u0131\u00e7an\u0131n rahmine geri d\u00f6nmeleri yoluyla yeniden do\u011fu\u015flar\u0131n\u0131n \u00f6\u011fretilmesidir.<\/p><p>Dolay\u0131s\u0131yla \u00e7\u00f6melme, ister ana tanr\u0131\u00e7a \u00e7\u00f6meldi\u011finde ister tanr\u0131lar\u0131n babas\u0131 \u00e7\u00f6meldi\u011finde olsun, her zaman ana tanr\u0131\u00e7an\u0131n rahmi arac\u0131l\u0131\u011f\u0131yla varl\u0131\u011f\u0131n yenilenmesini ifade etmekle ve daha sonra g\u00f6rece\u011fimiz gibi s\u0131v\u0131lar\u0131n sembolizmiyle ba\u011flant\u0131l\u0131d\u0131r.<\/p><p>Tanr\u0131lar\u0131n \u00e7\u00f6melmi\u015f babas\u0131 s\u00f6z konusu oldu\u011funda, iki farkl\u0131 anlam tespit edebiliriz:<\/p><ol><li>Tanr\u0131lar\u0131n babas\u0131 bask\u0131n bir pozisyonda \u00e7\u00f6melmi\u015f olarak temsil edildi\u011finde, bu, b\u00fcy\u00fck bir ilah olmay\u0131 ba\u015fard\u0131\u011f\u0131 i\u00e7in, t\u0131pk\u0131 ana tanr\u0131\u00e7a gibi, s\u0131v\u0131lar\u0131n\u0131n veya h\u00fcm\u00f6rlerinin arma\u011fan\u0131 yoluyla ya\u015fayanlara ve \u00f6l\u00fclere yery\u00fcz\u00fcnde bolluk ve \u00f6b\u00fcr d\u00fcnyada \u00f6l\u00fcms\u00fczl\u00fck iletme olas\u0131l\u0131\u011f\u0131n\u0131n y\u00fcksek oldu\u011funu belirtmek i\u00e7indir. Bunu biraz ileride Cernunos ve Maya tanr\u0131lar\u0131 \u00f6rne\u011finde g\u00f6rece\u011fiz.<\/li><li>Tanr\u0131lar\u0131n babas\u0131 burada oldu\u011fu gibi zay\u0131f bir pozisyonda, \u00f6l\u00fcm\u00fc simgeleyen bir uyku halinde temsil edildi\u011finde, bu onun cenin halini temsil etmek i\u00e7indir. O \u00f6lm\u00fc\u015ft\u00fcr ve yeniden do\u011fu\u015funu talep edebilmesi i\u00e7in yeniden bir gebelik s\u00fcrecinden ge\u00e7mesi gerekir (bu s\u00fcreci \u00f6zel bir makalede detayland\u0131raca\u011f\u0131m).<\/li><\/ol><p>Bu son durum, Camille Jullian&#8217;\u0131n (yukar\u0131da al\u0131nt\u0131lanan), \u00f6lenlerin ana tanr\u0131\u00e7a taraf\u0131ndan sa\u011flanacak yeniden do\u011fu\u015flar\u0131na i\u015faret etmek i\u00e7in mezarlara cenin pozisyonunda yerle\u015ftirildikleri \u015feklindeki a\u00e7\u0131klamas\u0131yla uyumludur.<\/p><p>Bunun \u00e7ok ilgin\u00e7 bir \u00f6rne\u011fi a\u015fa\u011f\u0131da verilmi\u015ftir<\/p><p>\u00a0<\/p><h3><span style=\"color: #000000;\">SARDUNYA&#8217;DAKI\u0307 TARI\u0307H \u00d6NCESI\u0307 THARROS YERLE\u015eI\u0307MI\u0307NDE CENIN POZISYONUNDA \u00c7\u00d6MELMI\u0307\u015e, ELI\u0307NDE Y\u00dcZ\u00dcNE D\u00d6N\u00dcK STEATOGYPE ANA TANRI\u00c7A HEYKELCI\u0307\u011eI\u0307 TUTAN BI\u0307R \u00d6L\u00dc<\/span><\/h3><p>\u00a0<\/p><p><em>\u00a0<\/em>Sardinya&#8217;daki Tharros alan\u0131nda, hipojeik mezarlardan birinde (yani bir yeralt\u0131 mahzeni veya g\u00f6m\u00fc alan\u0131), &#8220;<em>cenin pozisyonunda \u00e7\u00f6melmi\u015f, elinde y\u00fcz\u00fcne do\u011fru i\u015faret eden bir Ana Tanr\u0131\u00e7a steatopyge<\/em><a href=\"#_ftn77\" name=\"_ftnref77\">[77]<\/a><em> heykelci\u011fi tutan bir \u00f6l\u00fc&#8221; bulunmaktad\u0131r.<\/em><\/p><p><em>\u00a0<\/em>Ancak kimsenin s\u00f6ylemedi\u011fi &#8211; ve g\u00f6r\u00fcn\u00fc\u015fe g\u00f6re g\u00f6rmedi\u011fi &#8211; \u015fey, mezar\u0131n kendisinin, yerel ana tanr\u0131\u00e7ay\u0131 de\u011filse bile, en az\u0131ndan onun rahmini temsil edecek \u015fekilde tasarland\u0131\u011f\u0131 ve daha sonra \u00f6l\u00fcn\u00fcn i\u00e7ine yerle\u015ftirildi\u011fidir.<\/p><p>Arkeologlar\u0131n bu mezarda yapt\u0131\u011f\u0131 incelemenin tasla\u011f\u0131na bir bak\u0131n:<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-14975\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image36-300x215.png\" alt=\"\" width=\"300\" height=\"215\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image36-300x215.png 300w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image36.png 308w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p><p><em>Res. 2 &#8211; Cuccuru S&#8217;Arriu&#8217;daki Neolitik mezar (M\u00d6 4. biny\u0131l\u0131n ikinci yar\u0131s\u0131) (Arkeoloji M\u00fcfetti\u015fli\u011fi Ar\u015fivi)<\/em><\/p><p><em>\u00a0<\/em><\/p><p>Merhum, ayn\u0131 zamanda rahim \u015feklinde olan bir g\u00f6m\u00fc alan\u0131na tam anlam\u0131yla cenin pozisyonunda yerle\u015ftirildi!<\/p><p>\u00d6rne\u011fin G\u00f6bekli Tepe&#8217;deki megalitik tap\u0131na\u011f\u0131n analizinde s\u00f6ylenenler g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda bu hi\u00e7 de \u015fa\u015f\u0131rt\u0131c\u0131 olmamal\u0131d\u0131r.<\/p><p>Elbette bunun alt\u0131nda yatan kavram, \u00f6len ki\u015finin ve onu haz\u0131rlayan t\u00fcm toplumun, ana tanr\u0131\u00e7a matrisine atfedilen yenilenme g\u00fcc\u00fc sayesinde, \u00f6l\u00fcm\u00fcn\u00fcn yeniden do\u011fu\u015funun ba\u015flang\u0131c\u0131 oldu\u011funa kesinlikle inanm\u0131\u015f olmas\u0131d\u0131r.<\/p><p><em>\u00a0<\/em><\/p><h3><span style=\"color: #000000;\">\u00c7ATAL H\u00d6Y\u00dcK<\/span><\/h3><p><em>\u00a0<\/em><\/p><p>Bu temsilin ya\u015f\u0131n\u0131n kan\u0131t\u0131 olarak a\u015fa\u011f\u0131daki kayna\u011f\u0131 da g\u00f6sterebiliriz:<\/p><p><em>&#8220;1960&#8217;larda \u00c7atal H\u00fcy\u00fck&#8217;te (Anadolu-T\u00fcrkiye) arkeolog James Mellaart bir dizi heykelcik ortaya \u00e7\u0131karm\u0131\u015ft\u0131r. Kad\u0131n bedeni, bo\u011fa kafataslar\u0131n\u0131n \u00fczerinde, do\u011furma pozisyonunda tasvir edilmi\u015ftir. Arkeolo\u011fa g\u00f6re bu &#8220;kutsal alanlar&#8221; ve heykelcikler, ya\u015fam\u0131 ve \u00f6l\u00fcm\u00fc yaratan bir ilaha adanm\u0131\u015f \u00f6zg\u00fcn bir k\u00fclt\u00fcn varl\u0131\u011f\u0131n\u0131 ortaya koymaktad\u0131r. Yenilenme kavram\u0131na dayanan bu k\u00fclt\u00fcn Yunan mitlerinde varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc\u011f\u00fc ve Anadolu&#8217;yu Bat\u0131 medeniyetinin be\u015fi\u011fi haline getirdi\u011fi s\u00f6ylenmektedir. Bu ke\u015fif, kad\u0131n bedeninin hem &#8216;Ana Tanr\u0131\u00e7a&#8217; hem de Toprak Ana&#8217;y\u0131 temsil etti\u011fi bir din ve daha geni\u015f anlamda ya\u015fam\u0131 ve \u00f6l\u00fcm\u00fc yaratan bir ilah fikrini do\u011furmu\u015ftur<\/em><a href=\"#_ftn78\" name=\"_ftnref78\"><em><strong>[78]<\/strong><\/em><\/a><em> .<\/em><\/p><p><em>\u00a0<\/em>Arkeolojik a\u00e7\u0131dan bu kadar eski bir sit alan\u0131nda (\u00c7atal H\u00fcy\u00fck M\u00d6 7.100 ila 5.600 y\u0131llar\u0131 aras\u0131na tarihlendirilmi\u015ftir), ana tanr\u0131\u00e7a hala \u00f6l\u00fcleri hayata d\u00f6nd\u00fcrme g\u00fcc\u00fcn\u00fc temsil eden do\u011fum pozisyonunda bulunmaktad\u0131r.<\/p><p>Tanr\u0131lar\u0131n babas\u0131n\u0131n sembollerinden biri olan bir bo\u011fa kafatas\u0131n\u0131n varl\u0131\u011f\u0131, bu yenilenmenin ilk nesnesinin kendi kocas\u0131 oldu\u011funu bir kez daha g\u00f6stermektedir.<\/p><p><em>\u00a0<\/em><\/p><p>\u00a0<\/p><h2><span style=\"color: #000000;\">\u00c7\u00d6MELEN B\u00dcY\u00dcK TANRISALLI\u011eIN SEMBOLIZMI VE YA\u015eAMSAL SIVILARIN SEMBOLIZMI<\/span><\/h2><p>\u00a0<\/p><p>Ana tanr\u0131\u00e7a taraf\u0131ndan \u00fcstlenilen \u00e7\u00f6melme pozisyonunun onun ya\u015fayanlar ve \u00f6l\u00fcler d\u00fcnyas\u0131 \u00fczerindeki her \u015feye kadir g\u00fcc\u00fcn\u00fc temsil etti\u011fini ve sadece do\u011fumun de\u011fil, her \u015feyden \u00f6nce \u00f6l\u00fclerin (her \u015feyden \u00f6nce kocas\u0131, o\u011ful tanr\u0131da reenkarne olan tanr\u0131lar\u0131n babas\u0131 dahil) yeniden do\u011fu\u015funun ana tanr\u0131\u00e7as\u0131 olarak stat\u00fcs\u00fcn\u00fcn bir sembol\u00fc oldu\u011funu anlad\u0131ktan sonra, \u015fimdi \u00e7\u00f6melme pozisyonuyla yak\u0131ndan ili\u015fkili ba\u015fka bir sembolizme k\u0131saca g\u00f6z ataca\u011f\u0131z: hayati s\u0131v\u0131lar.<\/p><p>Burada hayati s\u0131v\u0131lar\u0131n sembolizminin, b\u00fcy\u00fck tanr\u0131sall\u0131\u011f\u0131n idrar, ter, d\u0131\u015fk\u0131 vb. t\u00fcm hayati s\u0131v\u0131lar\u0131n\u0131n, o\u011flu gibi bedeninin, etinin meyvesi olduklar\u0131 i\u00e7in, bu o\u011ful-mesih-kurtar\u0131c\u0131n\u0131n ger\u00e7ek ve m\u00fckemmel ikameleri oldu\u011fu mitolojik doktrini ifade etti\u011fini hat\u0131rlayal\u0131m.<\/p><p>Bu nedenle, mitolojik paganizmde, mistik olarak, b\u00fcy\u00fck tanr\u0131sall\u0131\u011f\u0131n idrar\u0131n\u0131 i\u00e7mek, adet d\u00f6nemlerini i\u00e7mek, d\u0131\u015fk\u0131s\u0131yla beslenmek, vb. do\u011fas\u0131 gere\u011fi son derece pagan olsa bile, Katolik transubstantiation&#8217;\u0131n ger\u00e7ek bir ak\u015fam yeme\u011fi olarak ger\u00e7ekle\u015ftirilen bir rit\u00fceldi, \u00e7\u00fcnk\u00fc adanm\u0131\u015flar\u0131n zihninde sembolik olarak Mesih&#8217;in o\u011flunun etini yemek ve b\u00f6ylece \u00f6l\u00fcms\u00fczl\u00fckle e\u015fanlaml\u0131 olan kurtulu\u015f g\u00fcc\u00fcnden yararlanmak anlam\u0131na geliyordu.<\/p><p>Ger\u00e7ekten de, ana tanr\u0131\u00e7a onu do\u011furdu\u011fu ve g\u00f6rece\u011fimiz gibi, tanr\u0131lar\u0131n babas\u0131 da vaat edilen pagan kurtar\u0131c\u0131 o\u011ful-Mesih&#8217;in atas\u0131 oldu\u011fu i\u00e7in, ister ana ister baba olsun, b\u00fcy\u00fck tanr\u0131lar\u0131n bedenlerinin etinin meyvesini t\u00fcketmek, do\u011furganl\u0131k ve \u00f6l\u00fcms\u00fczl\u00fck iksirleri gibi, d\u00fcnyevi ya\u015famda bolluk ve \u00f6l\u00fcms\u00fczl\u00fck, \u00f6b\u00fcr d\u00fcnyada tanr\u0131sall\u0131k elde etmenin do\u011frudan bir arac\u0131 olarak g\u00f6r\u00fclecektir.<\/p><p>Genellikle Ana Tanr\u0131\u00e7a ile ili\u015fkilendirilen bir \u00f6zellik olan Tanr\u0131lar\u0131n Babas\u0131&#8217;n\u0131n v\u00fccut s\u0131v\u0131lar\u0131n\u0131 ba\u011f\u0131\u015flama yetene\u011fi ile ilgili olarak, Ana Tanr\u0131\u00e7a&#8217;n\u0131n \u00e7o\u011funlukla iki nedenden dolay\u0131 temsil edildi\u011fine dikkat edilmelidir:<\/p><p>\u0130lk olarak, elbette gebelik ve yeniden do\u011fu\u015f s\u00fcrecinin ba\u015fl\u0131ca oyuncusu oldu\u011fu i\u00e7in.<\/p><p>\u0130kinci olarak, ana tanr\u0131\u00e7an\u0131n s\u0131v\u0131lar\u0131yla beslenerek, tap\u0131nan ki\u015fi sembolik olarak sadece anne ve o\u011fuldan de\u011fil, ayn\u0131 zamanda babadan da beslenmektedir (\u00e7\u00fcnk\u00fc o\u011ful baban\u0131n reenkarnasyonudur). Asl\u0131nda t\u00fcm \u00fc\u00e7l\u00fcden beslenmektedir.<\/p><p>Ancak, g\u00f6rece\u011fimiz gibi, tanr\u0131lar\u0131n babas\u0131n\u0131n, hatta o\u011ful tanr\u0131n\u0131n bazen ayakta ya da \u00e7\u00f6melmi\u015f bir pozisyonda, s\u0131v\u0131lar\u0131n\u0131 verirken temsil edilmesi de m\u00fcmk\u00fcnd\u00fcr, \u00e7\u00fcnk\u00fc her ikisine de ya do\u011frudan ya da doktrinsel bir de\u011fi\u015fim yoluyla bolluk ve \u00f6l\u00fcms\u00fczl\u00fck \u00fcretme g\u00fcc\u00fc verilmi\u015f olabilir.<\/p><p>\u015eimdi \u00e7\u00f6melmi\u015f, do\u011fum yapan ve\/veya s\u0131v\u0131lar\u0131n\u0131 yayan ana tanr\u0131\u00e7a temsiline d\u00f6necek olursak, A. Parks kitab\u0131nda (notlar\u0131ndan birinde adet g\u00f6rmenin antik k\u00fcltlerdeki gizli anlam\u0131n\u0131 a\u00e7\u0131klamay\u0131 ama\u00e7lamaktad\u0131r<a href=\"#_ftn79\" name=\"_ftnref79\">[79]<\/a> ) \u015f\u00f6yle demektedir:<\/p><p><strong><em>Bu nedenle, Ana Tanr\u0131\u00e7a&#8217;y\u0131 genellikle \u00e7\u00f6melmi\u015f bir duru\u015fta temsil eden ola\u011fan\u00fcst\u00fc say\u0131da fig\u00fcrin d\u00fcnyan\u0131n her yerinde d\u00fczenli olarak ortaya <\/em><\/strong><em>\u00e7\u0131kar\u0131lmaktad\u0131r. Ay, kad\u0131nlar\u0131n adet d\u00f6ng\u00fcs\u00fcn\u00fc etkiledi\u011fi i\u00e7in, bu \u00e7ok \u00f6zel \u015fekilde Ana Tanr\u0131\u00e7a&#8217;n\u0131n da ilgili bir sembol\u00fcd\u00fcr.<\/em>\u00a0(A. PARKS, The Secret of the Dark Stars, 2005, s. 201, 203)<em>. <\/em><\/p><p><em>\u00a0<\/em><em>Ana Tanr\u0131\u00e7a rahibelerinin genellikle Ana Tanr\u0131\u00e7a&#8217;n\u0131n kutsal g\u00fcc\u00fcn\u00fc ve asaletini gelece\u011fin krallar\u0131na ve prenslerine aktard\u0131klar\u0131 s\u00f6ylenen kutsal fahi\u015feler olmalar\u0131n\u0131n nedeni de budur<\/em><a href=\"#_ftn80\" name=\"_ftnref80\"><em><strong>[80]<\/strong><\/em><\/a><em> .<\/em><\/p><p><em>\u00a0<\/em>Bu konuda kesinlikle hakl\u0131.<\/p><p>Birinin regl d\u00f6nemini ya da daha geni\u015f anlamda ana tanr\u0131\u00e7an\u0131n bedeninden akan s\u0131v\u0131lar\u0131 i\u00e7me rit\u00fceli \u015f\u00fcphesiz \u00f6nemli bir kutsal ayindi.<\/p><p>Bunu \u00e7ok iyi a\u00e7\u0131klayan Maya&#8217;dan baz\u0131 \u00f6rneklere bakal\u0131m:<\/p><p>\u00a0<\/p><h3><span style=\"color: #000000;\">MAYALAR<\/span><\/h3><p>\u00a0<\/p><p>\u0130\u015fte Codex Borgia&#8217;dan bir fig\u00fcr:<\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-14125\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image18.png\" alt=\"\" width=\"225\" height=\"198\" \/><\/p><p>\u015eekil 5: Codex Borgia\u00a0\u00a0<\/p><p>Bu \u015fekil, net olma avantaj\u0131na sahiptir.<\/p><p>B\u00fcy\u00fck tanr\u0131n\u0131n hamile oldu\u011fu, karn\u0131n\u0131n etraf\u0131ndaki bu k\u0131rm\u0131z\u0131 \u00e7emberden anla\u015f\u0131l\u0131yor.<\/p><p>Bu nedenle \u00e7\u00f6melme pozisyonu ile do\u011fum aras\u0131nda bir ili\u015fki vard\u0131r, \u00f6zellikle de do\u011fumun tam d\u00f6nemine ula\u015ft\u0131\u011f\u0131 a\u00e7\u0131kt\u0131r.<\/p><p>Dolay\u0131s\u0131yla \u00e7\u00f6melme pozisyonu ayn\u0131 zamanda gebelik s\u00fcrecinin doruk noktas\u0131 olan do\u011fumla ilgili bir sorundur.<\/p><p>Bu temel anlay\u0131\u015fa ek olarak, buradaki s\u0131v\u0131lar\u0131n sembolizminin \u00e7\u00f6melme pozisyonuyla do\u011frudan ba\u011flant\u0131l\u0131 oldu\u011funu da ekleyebiliriz.<\/p><p>Neden b\u00f6yle oldu?<\/p><p>G\u00f6bek k\u0131rm\u0131z\u0131 renkte g\u00f6sterilirken, e\u015farb\u0131n da k\u0131rm\u0131z\u0131 renkte g\u00f6sterildi\u011fine ve g\u00f6bekten a\u015fa\u011f\u0131ya do\u011fru uzanarak sa\u00e7aklarla sonland\u0131\u011f\u0131na dikkat edin.<\/p><p>\u0130\u015fte bir ba\u015fka ayd\u0131nlat\u0131c\u0131 rakam:<\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-14135\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image19.png\" alt=\"\" width=\"235\" height=\"206\" \/><\/p><p>\u015eekil 6: Meksika Borgia Kodeksi, levha 74<a href=\"#_ftn81\" name=\"_ftnref81\">[81]<\/a> .<\/p><p>B\u00fcy\u00fck tanr\u0131n\u0131n \u00e7\u00f6melmi\u015f bir pozisyonda oldu\u011funa ve i\u00e7inde bir g\u00f6z ya da daire olan bir elin (ters \u00e7evrilmi\u015f Fatma&#8217;n\u0131n eline benzer), t\u0131pk\u0131 bir \u00f6nceki resimdeki sa\u00e7akl\u0131 k\u0131rm\u0131z\u0131 e\u015farp gibi, b\u00fcy\u00fck tanr\u0131n\u0131n a\u00e7\u0131lm\u0131\u015f bacaklar\u0131n\u0131n do\u011frudan bir uzant\u0131s\u0131 oldu\u011funa dikkat edin.<\/p><p>Bu e\u015farb\u0131n ya da ters \u00e7evrilmi\u015f elin, do\u011fum yapmak \u00fczere olan ya da do\u011fum pozisyonunda bulunan yukar\u0131daki tanr\u0131sal varl\u0131\u011f\u0131n vajinas\u0131yla do\u011frudan bir ili\u015fki i\u00e7inde olmas\u0131n\u0131n amac\u0131 nedir?<\/p><p>Sa\u00e7aklar\u0131 olan bu e\u015farb\u0131n ya da ters \u00e7evrildi\u011finde bu elin, ana tanr\u0131\u00e7an\u0131n rahminden akan s\u0131v\u0131lar\u0131 temsil etti\u011fini anlamam\u0131z gerekir.<\/p><p>Bu neden b\u00f6yle?<\/p><p>Maya ilahiyat\u0131n\u0131n bir ba\u015fka \u00f6rne\u011fine, Maya ana tanr\u0131\u00e7as\u0131 Ixchel&#8217;e d\u00f6nelim.<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-14145\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image20-278x300.png\" alt=\"\" width=\"278\" height=\"300\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image20-278x300.png 278w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image20.png 335w\" sizes=\"(max-width: 278px) 100vw, 278px\" \/><\/p><p>\u015eekil 7: Madrid Maya Kodeksi, levha 30 <a href=\"#_ftn82\" name=\"_ftnref82\">[82]<\/a><a href=\"#_ftn83\" name=\"_ftnref83\">[83]<\/a><\/p><p>Ixchel ya da Ix Chel, b\u00fcy\u00fck Maya ana tanr\u0131\u00e7as\u0131d\u0131r.<\/p><p>Glifik metinlerde &#8220;Chak Chel&#8221; olarak adland\u0131r\u0131l\u0131r.<\/p><p>K\u0131sa S\u00fcmer etimolojisi :<\/p><p>S\u00fcmerce&#8217;de Chak Chel \u0161a-ak<strong> \u0161a-el, <\/strong>yani beden, rahim, &#8220;<strong>\u0161a<\/strong>&#8220;<a href=\"#_ftn84\" name=\"_ftnref84\">[84]<\/a> Havva&#8217;n\u0131n bir ad\u0131 oldu\u011funu bildi\u011fimiz &#8220;<strong>ak(a<\/strong>) &#8220;dan &#8220;do\u011furan kad\u0131n, genetrix&#8221;<a href=\"#_ftn85\" name=\"_ftnref85\">[85]<\/a> ve &#8220;<strong>\u0161a&#8221; &#8220;<\/strong>el&#8221; beden, &#8220;a\/el &#8220;in rahmi, &#8220;yeti\u015ftirilmi\u015f baba&#8221; olarak ayr\u0131labilir.<\/p><p>Kodeksteki bu resimde kollar\u0131n\u0131 ve bacaklar\u0131n\u0131 geni\u015f\u00e7e a\u00e7t\u0131\u011f\u0131n\u0131<a href=\"#_ftn86\" name=\"_ftnref86\">[86]<\/a> ve t\u00fcm v\u00fccut s\u0131v\u0131lar\u0131n\u0131 (g\u00f6\u011f\u00fcslerinden gelen s\u00fct, koltuk altlar\u0131ndan gelen ter, vajinas\u0131ndan \u00e7\u0131kan s\u0131v\u0131lar, idrar\u0131 ve d\u0131\u015fk\u0131 toplar\u0131&#8230;) yayd\u0131\u011f\u0131n\u0131 fark edeceksiniz.<\/p><p>Bana bu g\u00f6r\u00fcnt\u00fcde \u00e7\u00f6melmi\u015f bir pozisyonda olmad\u0131\u011f\u0131n\u0131 s\u00f6yleyeceksiniz, ancak dikkat edin: ili\u015fkilendirildi\u011fi t\u00fcm ilahlar \u00f6yledir.<\/p><p>Dolay\u0131s\u0131yla, Mayalar aras\u0131nda, gebeli\u011fi ve do\u011fumu temsil eden bir ilah olan b\u00fcy\u00fck ana tanr\u0131\u00e7an\u0131n \u00e7\u00f6melme pozisyonu (ki bunun Baba&#8217;n\u0131n kurtar\u0131c\u0131 g\u00fc\u00e7le donat\u0131lm\u0131\u015f bir reenkarnasyonu olan o\u011ful ilah\u0131n do\u011fumuna yol a\u00e7aca\u011f\u0131n\u0131 biliyoruz) ile v\u00fccudundan akan s\u0131v\u0131lar\u0131n sembolizmi aras\u0131nda do\u011frudan bir ba\u011flant\u0131 oldu\u011funu anlamam\u0131z gerekir.<\/p><p>A\u015fa\u011f\u0131da, \u00e7\u00f6melme pozisyonunu iksirler gibi hayati s\u0131v\u0131lar\u0131n \u00fcretimiyle ili\u015fkilendiren b\u00fcy\u00fck erkek ve kad\u0131n ilahlar\u0131n benzer \u00f6rnekleri bulunmaktad\u0131r.<\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-14155\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image21.png\" alt=\"\" width=\"241\" height=\"193\" \/><\/p><p>Resim 1 Meksika Kodeksi Laud&#8217;dan al\u0131nm\u0131\u015ft\u0131r.<\/p><p>Bu fig\u00fcr, bir a\u011fac\u0131n alt\u0131nda bir kaplumba\u011fan\u0131n \u00f6n\u00fcnde \u00e7\u00f6melmi\u015f, bir kab\u0131n i\u00e7ine damlalar sa\u00e7an boynuzlu bir Tanr\u0131&#8217;y\u0131 tasvir etmektedir.<\/p><p>Kaplumba\u011fan\u0131n \u00e7\u00f6melmi\u015f tanr\u0131n\u0131n hemen \u00f6n\u00fcnde oldu\u011funa dikkat edin, bu tav\u0131rla tanr\u0131lar\u0131n babas\u0131n\u0131 ve ayn\u0131 zamanda ana tanr\u0131\u00e7ay\u0131 ili\u015fkilendirir, \u00e7\u00fcnk\u00fc Kaplumba\u011fa onun amblemlerinden biridir<a href=\"#_ftn87\" name=\"_ftnref87\">[87]<\/a> .<\/p><p>Di\u011fer bariz \u00e7a\u011fr\u0131\u015f\u0131m ise y\u00fcce tanr\u0131n\u0131n hayat a\u011fac\u0131ndan meyve toplay\u0131p \u00f6l\u00fcms\u00fczl\u00fck iksirine d\u00f6n\u00fc\u015ft\u00fcr\u00fcrken \u00e7\u00f6melmi\u015f olmas\u0131d\u0131r.<\/p><p>Dolay\u0131s\u0131yla \u00e7\u00f6melme ile \u00f6l\u00fcms\u00fcz s\u0131v\u0131lar\u0131n \u00fcretimi aras\u0131nda bir benzerlik vard\u0131r.<\/p><p>Ayr\u0131ca, a\u011fac\u0131n tanr\u0131sall\u0131\u011f\u0131n kendisinin bir sembol\u00fc oldu\u011funu da biliyoruz<a href=\"#_ftn88\" name=\"_ftnref88\">[88]<\/a> .<\/p><p>Ba\u015fka bir deyi\u015fle, burada tanr\u0131sal varl\u0131\u011f\u0131n meyvesinden iksir benzeri bir \u00f6l\u00fcms\u00fczl\u00fck s\u0131v\u0131s\u0131 \u00e7\u0131kard\u0131\u011f\u0131 a\u011fa\u00e7 kendi bedeninden ba\u015fka bir \u015fey de\u011fildir. Bu, \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fcn onun i\u00e7inde oldu\u011funu ve onu \u00e7\u0131kar\u0131p istedi\u011fi ki\u015fiye verebilece\u011fini s\u00f6ylemenin bir yoludur.<\/p><p>L\u00fctfen bu di\u011fer resme de bir g\u00f6z at\u0131n:\u00a0<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-14165\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image22-293x300.png\" alt=\"\" width=\"293\" height=\"300\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image22-293x300.png 293w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image22.png 405w\" sizes=\"(max-width: 293px) 100vw, 293px\" \/><\/p><p>\u015eekil 2: Codex Borgia<\/p><p>Bu fig\u00fcrde, di\u011fer boynuzlu tanr\u0131yla birlikte, \u00e7\u00f6melme pozisyonu ile s\u0131v\u0131lar\u0131n toplanmas\u0131 aras\u0131ndaki ili\u015fkiyi, b\u00fcy\u00fck tanr\u0131n\u0131n bacaklar\u0131 aras\u0131nda bulunan ve a\u00e7\u0131k\u00e7a v\u00fccut s\u0131v\u0131lar\u0131n\u0131 toplamaya yarayan kase \u015feklindeki k\u00fc\u00e7\u00fck sunakla da buldu\u011fumuza dikkat edin.<\/p><p>\u00d6rne\u011fin az \u00f6nce s\u00f6ylediklerimiz ve g\u00f6rd\u00fcklerimiz, Avustralya Aborjinlerinin ma\u011fara resimlerini anlamam\u0131za yard\u0131mc\u0131 oluyor:<\/p><p>\u00a0<\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" name=\"_Toc83502504\"><\/a><a style=\"color: #000000;\" name=\"_Toc83502503\"><\/a><strong>AVUSTRALYA ABORJI\u0307NLERI\u0307 ARASINDA<\/strong><\/span><\/p><p>\u00a0<\/p><p>Aborijin kaya sanat\u0131nda bulunan ayn\u0131 temsilleri ele alal\u0131m:<\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-14178\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image23.png\" alt=\"\" width=\"274\" height=\"204\" \/><\/p><p><em>\u015eekil 8: Koala kaya sanat\u0131 Aborijin kaya sanat\u0131, Anbangbang kaya s\u0131\u011f\u0131na\u011f\u0131, Kakadu Ulusal Park\u0131, Avustralya <\/em><\/p><p><em>(ozoutback.com.au&#8217;ya g\u00f6re, yarat\u0131l\u0131\u015f\u0131n atas\u0131 Namondjok&#8217;u, a\u015fa\u011f\u0131da kar\u0131s\u0131 Barrginj, sa\u011fda y\u0131ld\u0131r\u0131m adam Namarrgon ve a\u015fa\u011f\u0131da t\u00f6rensel ba\u015fl\u0131klar i\u00e7inde erkek ve kad\u0131nlarla birlikte g\u00f6stermektedir).<\/em><\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-14188\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image24.png\" alt=\"\" width=\"267\" height=\"185\" \/><\/p><p>\u015eekil 9: En eski Aborjin yerle\u015fimlerinden biri olan Avustralya, Kakadu&#8217;daki Nourlangie Rock alan\u0131ndan geleneksel bir Aborjin tanr\u0131\u00e7as\u0131 olan tanr\u0131\u00e7a Kunapipi&#8217;nin petroglifi.<\/p><p>Ne g\u00f6r\u00fcyoruz?<\/p><p>B\u00fcy\u00fck tanr\u0131 ve yerel ana tanr\u0131\u00e7an\u0131n her ikisi de \u00e7\u00f6melmi\u015f bir pozisyonda temsil edilmektedir!<\/p><p>Ne i\u00e7in? Do\u011fum yapmak i\u00e7in mi?<\/p><p>Tanr\u0131lar\u0131n Babas\u0131 i\u00e7in b\u00f6yle bir durum s\u00f6z konusu olamaz.<\/p><p>Her ikisi de burada, ilksel baba ve anne, ya\u015fam kayna\u011f\u0131 ve kurtar\u0131c\u0131 g\u00fcce sahip kahraman o\u011ful tanr\u0131n\u0131n atalar\u0131 olarak, bedenlerini ve ya\u015famsal s\u0131v\u0131lar\u0131n\u0131 yerel rahiplikleri arac\u0131l\u0131\u011f\u0131yla tap\u0131nanlar\u0131na vererek ya\u015fam, bereket ve \u00f6l\u00fcms\u00fczl\u00fck getirdiklerini ifade etmek i\u00e7in kullan\u0131lan do\u011fum pozisyonunda tasvir edilmi\u015flerdir.<\/p><p>Burada da ger\u00e7ek bir t\u00f6ren ve kutsal bir ayin s\u00f6z konusudur.<\/p><p>\u015eimdi tanr\u0131lar\u0131n babas\u0131n\u0131n \u00e7\u00f6melme pozisyonu ve\/veya ya\u015famsal s\u0131v\u0131lar\u0131n arma\u011fan\u0131yla nas\u0131l ili\u015fkilendirilebilece\u011fine dair di\u011fer \u00f6rneklere bakal\u0131m:<\/p><p>\u00a0<\/p><h3><span style=\"color: #000000;\">CERNUNNOS ILE KELTLERE<\/span><\/h3><p>\u00a0<\/p><p>Tanr\u0131 Cernunnos (ya da Karnonos<a href=\"#_ftn89\" name=\"_ftnref89\">[89]<\/a> ) ger\u00e7ek bir dis pater<a href=\"#_ftn90\" name=\"_ftnref90\">[90]<\/a> olarak kabul edilir.<\/p><p>Bunun, ilahile\u015ftirilmi\u015f ilkel insan atas\u0131n\u0131n bir ba\u015fka y\u00fcz\u00fc oldu\u011funu g\u00f6sterme f\u0131rsat\u0131na sahip olaca\u011f\u0131z.<\/p><p>Cernunnos b\u00fcy\u00fck bir geyik boynuzuyla tasvir edildi\u011fi ve \u0130rlandal\u0131 avatar\u0131 Nemed de bir geyik tanr\u0131s\u0131 oldu\u011fu i\u00e7in<a href=\"#_ftn91\" name=\"_ftnref91\">[91]<\/a> onun bir geyik tanr\u0131s\u0131 olarak temsil edildi\u011fini; \u00f6k\u00fcz ya da bo\u011fan\u0131n alt\u0131nda boynuzlu tanr\u0131 sembolleriyle Geyron ve Trigaranus ile ili\u015fkilendirildi\u011fini belirtebiliriz.<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-14201\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image25-300x203.png\" alt=\"\" width=\"300\" height=\"203\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image25-300x203.png 300w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image25.png 430w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p><p>Gundestrup kazan\u0131 \u00fczerindeki Cernunnos Wikipedia at Cernunos<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-14211\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image26-282x300.png\" alt=\"\" width=\"282\" height=\"300\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image26-282x300.png 282w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image26.png 416w\" sizes=\"(max-width: 282px) 100vw, 282px\" \/><\/p><p>Ke\u00e7i boynuzu, tork, \u00f6k\u00fcz, cornucopia ve Kelt tanr\u0131s\u0131 Cernunnos&#8217;un ba\u011fda\u015f kurmu\u015f oturur pozisyonu, Reims.<\/p><p>Baz\u0131 insanlar bu nedenle onu \u015eiva ile ili\u015fkilendirmi\u015f ve \u015eiva ile aras\u0131nda olas\u0131 bir mitolojik akrabal\u0131k oldu\u011funu d\u00fc\u015f\u00fcnm\u00fc\u015flerdir<a href=\"#_ftn92\" name=\"_ftnref92\">[92]<\/a> .<\/p><p>Bu makalede bizi ilgilendiren \u015fey, onun s\u0131kl\u0131kla \u00e7\u0131plak, ba\u011fda\u015f kurmu\u015f veya lotus pozisyonunda tasvir edilmesi<a href=\"#_ftn93\" name=\"_ftnref93\">[93]<\/a> ve ayn\u0131 zamanda s\u0131kl\u0131kla do\u011frudan Ana Tanr\u0131\u00e7a ile ili\u015fkilendirilmesi ve elinde bir bereket tutmas\u0131d\u0131r<a href=\"#_ftn94\" name=\"_ftnref94\">[94]<\/a> .<\/p><p>Bereket boynuzunun analizi, boynuz ve fincan sembolizmi, vazo ve ke\u00e7i sembolizmi aras\u0131ndaki kav\u015fakta yer alan bu sembol\u00fcn, matrisi, bu durumda ana tanr\u0131\u00e7ay\u0131 temsil eden son derece matris bir sembol oldu\u011funu g\u00f6stermektedir.<\/p><p>B\u00f6ylece bu bereketli bereket tanr\u0131s\u0131n\u0131n neden do\u011frudan ana tanr\u0131\u00e7a ile ili\u015fkilendirildi\u011fini anl\u0131yoruz.<\/p><p>\u00c7\u00fcnk\u00fc bu boynuz onun rahmini temsil ediyor. Sanki orada, bacaklar\u0131n\u0131 a\u00e7m\u0131\u015f, do\u011fum pozisyonundaym\u0131\u015f gibi onu do\u011frudan temsil eder ve ba\u011fda\u015f kurarak oturmas\u0131, ana tanr\u0131\u00e7an\u0131n hayat verirken ve mistik olarak rahminden d\u00fcnyaya hayati s\u0131v\u0131lar\u0131n\u0131 ak\u0131t\u0131rken \u00e7\u00f6melme pozisyonunu hat\u0131rlatmaya yarar, ona maddi d\u00fcnyada bolluk ve \u00f6tesindeki suda \u00f6l\u00fcms\u00fczl\u00fck verir, pardon! \u00f6tesinde.<\/p><p>Bu nedenle, k\u00f6kenleri a\u00e7\u0131k\u00e7a Keltlerden \u00e7ok daha eski olan bu ana tanr\u0131\u00e7an\u0131n, ya\u015fayanlar\u0131n ve \u00f6l\u00fclerin d\u00fcnyas\u0131n\u0131 y\u00f6neten ilkel bir ana tanr\u0131\u00e7a oldu\u011funu belirtmek \u00f6zellikle ilgin\u00e7tir.<\/p><p>Asl\u0131nda, do\u011frudan Demeter, Kibele ile ba\u011flant\u0131l\u0131d\u0131r ve toprak tanr\u0131\u00e7as\u0131 ya da Toprak Ana olarak tan\u0131mlan\u0131r.<\/p><p>Sadece Neolitik kad\u0131n ilahlarla ba\u011flant\u0131l\u0131 de\u011fil<a href=\"#_ftn95\" name=\"_ftnref95\">[95]<\/a> !<\/p><p>Bu g\u00f6zlemlerin, \u00e7al\u0131\u015fmalar\u0131mda ortaya koydu\u011fum ger\u00e7eklerden birini, yani t\u00fcm ana tanr\u0131\u00e7alar\u0131n ger\u00e7ekte ayn\u0131 orijinal tanr\u0131sall\u0131\u011f\u0131n \u00e7o\u011falmas\u0131ndan ba\u015fka bir \u015fey olmad\u0131\u011f\u0131n\u0131 do\u011frulad\u0131\u011f\u0131n\u0131 g\u00f6rece\u011fiz.<\/p><p>Benden ba\u015fkalar\u0131 taraf\u0131ndan yap\u0131lan bu basit g\u00f6zlemler, ona adanan k\u00fclt\u00fcn evrenselli\u011fini ve zamans\u0131zl\u0131\u011f\u0131n\u0131 az da olsa anlamam\u0131za yard\u0131mc\u0131 oluyor.<\/p><p>Elbette ara\u015ft\u0131rmam\u0131n sadece bunu g\u00f6stermekle kalmay\u0131p \u00e7ok daha ileri gidece\u011fini de eklemeliyim.<\/p><p>Sonunda \u00e7ok \u00f6nemli bir \u015feyi anlamam\u0131z\u0131 sa\u011flayacaklar! Sadece t\u00fcm ana tanr\u0131\u00e7alar\u0131n tek bir orijinal ana tanr\u0131\u00e7an\u0131n varyasyonlar\u0131 veya \u00e7oklu y\u00fczleri oldu\u011funu de\u011fil, ayn\u0131 zamanda ve hepsinden \u00f6nemlisi, bu ana tanr\u0131\u00e7an\u0131n, babalar\u0131ndan biraz daha az ilkel olan ve do\u011fal g\u00f6zlemlerden ruhani kavramlar in\u015fa etmeye ba\u015flayan insanlar taraf\u0131ndan tanr\u0131la\u015ft\u0131r\u0131lm\u0131\u015f ve bir ki\u015fi veya karakter haline getirilmi\u015f maddi bir D\u00fcnya, ki\u015fisel olmayan bir tanr\u0131 olan Toprak Ana&#8217;n\u0131n kar\u0131\u015f\u0131k bir kavram\u0131 olmad\u0131\u011f\u0131n\u0131 (ki bu bilimsel varsay\u0131md\u0131r).<\/p><p>Hay\u0131r, tam tersine, bu orijinal ana tanr\u0131\u00e7an\u0131n insan d\u00fcnyas\u0131n\u0131n k\u00f6keninde \u00e7ok ger\u00e7ek bir ki\u015fi oldu\u011funu, insanl\u0131\u011f\u0131n ilk annesi Havva&#8217;dan ba\u015fkas\u0131 olmad\u0131\u011f\u0131n\u0131 anlamam\u0131z gerekir. Di\u011fer \u015feylerin yan\u0131 s\u0131ra, yery\u00fcz\u00fcn\u00fcn ve yeralt\u0131 d\u00fcnyas\u0131n\u0131n tanr\u0131\u00e7as\u0131 olarak tanr\u0131la\u015ft\u0131r\u0131lan ilksel bir anne.<\/p><p>Bu, kad\u0131n haline getirilmi\u015f bir nesne de\u011fil, tam tersine, nesne haline getirilmi\u015f bir kad\u0131n, bir hayranl\u0131k nesnesi oldu\u011funu anlamakla ilgilidir.<\/p><p>Ama \u015fimdi s\u0131v\u0131larla ili\u015fkili \u00e7\u00f6melmi\u015f tanr\u0131lar\u0131n di\u011fer \u00f6rneklerine bir g\u00f6z atal\u0131m:\u00a0<\/p><p><strong>\u00a0<\/strong><\/p><h3><span style=\"color: #000000;\">OKYANUSYA&#8217;DA KORWAR I\u0307LE<\/span><\/h3><p>\u00a0<\/p><p>Tanr\u0131sall\u0131\u011f\u0131n \u00e7\u00f6melme pozisyonundaki bu temsilinin bir ba\u015fka \u00f6rne\u011fi olarak, sizi Yeni Gine&#8217;den Korwar ad\u0131 verilen kutsal heykellere bakmaya davet ediyorum.<\/p><p>\u00d6ncelikle belirtmek gerekir ki, onlara h\u00fcrmet eden yerli halka g\u00f6re, orada ikamet eden atalar\u0131n ruhlar\u0131n\u0131, tanr\u0131sall\u0131k mertebesine y\u00fckseltilen ruhlar\u0131 cisimle\u015ftirmeye veya temsil etmeye hizmet ederler<a href=\"#_ftn96\" name=\"_ftnref96\">[96]<\/a> ve daha sonra ya\u015fayanlara rehberlik etmeye devam etmek i\u00e7in yery\u00fcz\u00fcnde kal\u0131rlar<a href=\"#_ftn97\" name=\"_ftnref97\">[97]<\/a> .<\/p><p>Bu, elbette, atalar\u0131 tanr\u0131la\u015ft\u0131rmaktan ibaret olan insan mitolojisinin bir ba\u015fka \u00f6rne\u011fidir, ki bu da zorunlu olarak her \u015feyden \u00f6nce ilksel atay\u0131 ima eder.<\/p><p>Bu makaledeki analiz ba\u011flam\u0131nda dikkat edilmesi gereken ilgin\u00e7 bir nokta, \u00e7\u00f6melmi\u015f bir pozisyonda, dizleri ve dirsekleri b\u00fck\u00fclm\u00fc\u015f bir \u015fekilde, ellerinin aras\u0131nda, kimin bakt\u0131\u011f\u0131na ba\u011fl\u0131 olarak, yeniden do\u011fu\u015fun sembolleri olarak belirlenen bir hayat a\u011fac\u0131n\u0131 veya y\u0131lan\u0131n t\u00fcy d\u00f6kmesini temsil eden delikli bir perde ile temsil edilmesidir.<\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-14254\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image27.png\" alt=\"\" width=\"154\" height=\"226\" \/><img decoding=\"async\" class=\"alignnone size-full wp-image-14264\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image28.png\" alt=\"\" width=\"163\" height=\"219\" \/><\/p><p>Trop M\u00fczesi&#8217;nde Korwar\u00a0&amp; Papua (Endonezya), Cenderawasih b\u00f6lgesinden Korwar heykelci\u011fi<\/p><p>Foto\u011fraf kayna\u011f\u0131: Hiro-Heremoana &#8211; Kendi \u00e7al\u0131\u015fmas\u0131<\/p><p>Buna ek olarak, korwar v\u00fccudun geri kalan\u0131na g\u00f6re abart\u0131l\u0131 \u015fekli nedeniyle esasen bir kafatas\u0131ndan olu\u015fur<a href=\"#_ftn98\" name=\"_ftnref98\">[98]<\/a> .<\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-14274\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image29.png\" alt=\"\" width=\"102\" height=\"223\" \/><\/p><p>Kaynak foto\u011fraf : Saat &#8211; Ki\u015fisel \u00e7al\u0131\u015fma<\/p><p>\u0130stisnai bir korwar Paris&#8217;te (Mus\u00e9e du Louvre, Pavillon des Sessions) muhafaza edilmektedir: ba\u015f\u0131 temsil edilmemi\u015ftir, ancak ger\u00e7ek bir insan kafatas\u0131ndan yap\u0131lm\u0131\u015ft\u0131r. Ku\u015fkusuz \u00e7ok g\u00fc\u00e7l\u00fc bir \u015fefti, bu nedenle ger\u00e7ek kafas\u0131n\u0131 saklam\u0131\u015f ve heykelini yapmam\u0131\u015f olma onurunu ta\u015f\u0131yor.<\/p><p>Yani burada bir sembolizm var:<\/p><ul><li>Ana tanr\u0131\u00e7an\u0131n matriksine giri\u015fi temsil eden kap\u0131 veya kap\u0131 \u00e7er\u00e7evesinin (delikli perde),<\/li><li>hatta ayn\u0131 anlama gelen fincan\u0131n sembolizmi bile olabilir,<\/li><li>W&#8217;nin, kendisi de orijinal hayat a\u011fac\u0131yla ili\u015fkilendirilen y\u0131lanla ili\u015fkilendirilmesi ve meyvelerinden\/s\u0131v\u0131lar\u0131ndan beslenme \u00f6nerisi, her ikisi de bu ataya d\u00f6n\u00fc\u015fm\u00fc\u015f tanr\u0131ya tapanlara \u00f6l\u00fcmlerinden sonra yeniden do\u011fu\u015f, \u00f6l\u00fcms\u00fczl\u00fck, atan\u0131n ula\u015ft\u0131\u011f\u0131 ve b\u00f6ylece kendi t\u00fcr\u00fcne yol g\u00f6stermek i\u00e7in yery\u00fcz\u00fcnde kald\u0131\u011f\u0131 s\u00f6ylenen ayn\u0131 \u00f6l\u00fcms\u00fczl\u00fck vaadini veren sembollerdir.<\/li><\/ul><p>Dikkat \u00e7ekici bir \u015fekilde, \u00e7\u00f6melme pozisyonu, bu fig\u00fcrdeki t\u00fcm ilgili semboller taraf\u0131ndan ifade edilen ba\u011flamsal yeniden do\u011fu\u015f fikriyle yak\u0131ndan ba\u011flant\u0131l\u0131d\u0131r.<\/p><p>Canl\u0131 varl\u0131\u011f\u0131n \u00f6n\u00fcnde bir \u00e7er\u00e7eve tutuyor olmas\u0131n\u0131n, ana rahmine girmek ve mistik olarak a\u011fa\u00e7-ana tanr\u0131\u00e7an\u0131n ya\u015famsal s\u0131v\u0131lar\u0131yla temsil edilen hayat a\u011fac\u0131n\u0131n meyvelerinden beslenmek i\u00e7in a\u00e7\u0131k bir davet oldu\u011funu da ekleyebiliriz.<\/p><p>\u00a0<\/p><h3><span style=\"color: #000000;\">ORTA \u00c7A\u011eIN AVARLARI (BUG\u00dcNK\u00dc \u00c7EK CUMHURI\u0307YETI\u0307)<\/span><\/h3><p>\u00a0<\/p><p>\u00c7\u00f6melmi\u015f tanr\u0131\u00e7a = v\u00fccut s\u0131v\u0131lar\u0131n\u0131n yay\u0131lmas\u0131 imgesinin belgesel ete kemi\u011fe b\u00fcr\u00fcnd\u00fcr\u00fclmesi d\u00fczeyinde kal\u0131rsak ve ezoterik dinin bu ilkesinin ne kadar kesinlikle zamans\u0131z ve evrensel oldu\u011funu \u015fimdi anlamak i\u00e7in, bunu eve daha yak\u0131n bir ba\u015fka \u00f6rnekle g\u00f6stermeye devam edebiliriz.<\/p><p>Daha sonra, \u015fimdiye kadar s\u00f6ylediklerimizden \u00e7ok daha ileri giden \u00f6rneklere ge\u00e7ece\u011fiz.<\/p><p>Evimize daha yak\u0131n olan bu \u00f6rnek, ScienceDirect web sitesinde<a href=\"#_ftn99\" name=\"_ftnref99\">[99]<\/a> yay\u0131nlanan bir makaleyi yineleyen G\u00e9o dergisindeki \u00e7ok yeni bir makalenin konusuydu.<\/p><p>Avrupa&#8217;n\u0131n \u00e7e\u015fitli b\u00f6lgelerinde bulunan ve g\u00f6zlemcilere g\u00f6re, Avarlar da dahil olmak \u00fczere \u00e7e\u015fitli halklar taraf\u0131ndan uygulanan ve tarih\u00e7iler taraf\u0131ndan \u015fimdiye kadar bilinmeyen bir orta\u00e7a\u011f k\u00fclt\u00fcn\u00fcn varl\u0131\u011f\u0131na i\u015faret eden &#8220;gizemli bir s\u00fcr\u00fcngen ve kurba\u011fa motifi&#8221; ta\u015f\u0131yan, erken Orta \u00c7a\u011f&#8217;a ait son derece iyi korunmu\u015f kemer tokalar\u0131n\u0131n ke\u015ffiyle ilgilidir.<\/p><p>Bize s\u00f6ylenen bu:<\/p><p>L\u00e1ny k\u00f6y\u00fc (G\u00fcney Moravya, \u00c7ek Cumhuriyeti) yak\u0131nlar\u0131nda ke\u015ffedildi\u011finde, arkeologlar bunun e\u015fsiz bir dekorasyon oldu\u011funu d\u00fc\u015f\u00fcnd\u00fcler: bir <strong>kurba\u011fay\u0131 yutan b\u00fcy\u00fcleyici bir &#8220;ejderha&#8221; (ya da basit\u00e7e bir y\u0131lan) motifi ta\u015f\u0131yan <\/strong>Y\u00fcksek Orta \u00c7a\u011f&#8217;dan kalma bir kemer tokas\u0131. Ancak, on iki y\u0131l \u00f6nce ke\u015ffedilmesinden bu yana, bu t\u00fcrden ba\u015fka ilgin\u00e7 eserlerin \u00fclkenin ba\u015fka yerlerinde, Almanya ve Macaristan&#8217;da da bulundu\u011funu \u00f6\u011frendiler.<\/p><p>Bu nedenle, birbirlerinden y\u00fczlerce kilometre uzakta tespit edilmi\u015f olmalar\u0131na ra\u011fmen birbirlerine \u00e7ok benzeyen bu nesneler \u00fczerinde bir \u00e7al\u0131\u015fma y\u00fcr\u00fct\u00fclm\u00fc\u015ft\u00fcr. Ocak 2024&#8217;te Journal of Archaeological Science dergisinde yay\u0131nlanan ve Brno&#8217;daki Masaryk \u00dcniversitesi taraf\u0131ndan iletilen sonu\u00e7lar, \u015fimdiye kadar bilinmeyen bir Orta\u00e7a\u011f pagan k\u00fclt\u00fcn\u00fcn varl\u0131\u011f\u0131na i\u015faret etmektedir. Bu k\u00fclt\u00fcn, H\u0131ristiyanl\u0131\u011f\u0131n geli\u015finden \u00f6nce Orta Avrupa&#8217;daki \u00e7e\u015fitli halklar taraf\u0131ndan payla\u015f\u0131ld\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fclmektedir.<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-14284\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image30-300x271.jpg\" alt=\"\" width=\"300\" height=\"271\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image30-300x271.jpg 300w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image30-768x693.jpg 768w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image30.jpg 953w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p><p>\u015eekil 1: \u0130ncelenen kemer u\u00e7lar\u0131na genel bak\u0131\u015f. A) L\u00e1ny (CZ), B) Zs\u00e1mb\u00e9k (H), C) Iffelsdorf (GER), D) Nov\u00fd Byd\u017eov (CZ).<\/p><p>Yazarlar i\u00e7in bu, <em>&#8220;\u00e7e\u015fitli halklar\u0131 manevi d\u00fczeyde birbirine ba\u011flayan&#8221; bir motifti.<\/em><\/p><p><em>Makale, \u00e7al\u0131\u015fman\u0131n yazarlar\u0131n\u0131n <strong>bu tokalar\u0131n, av\u0131n\u0131 yakalayan &#8216;s\u00fcr\u00fcngen&#8217; imgesinin, <\/strong>onlar\u0131 takanlar i\u00e7in ger\u00e7ekte <strong>ne <\/strong>anlama geldi\u011fini <strong>do\u011frulayamad\u0131klar\u0131n\u0131 <\/strong>s\u00f6yl\u00fcyor. Bununla birlikte, pagan ayinlerinde ejderha ya da y\u0131lan i\u00e7eren \u00e7at\u0131\u015fma resimlerinin yayg\u0131n oldu\u011funu belirtiyorlar.<\/em><\/p><p><em><strong>Sava\u015f sahnesi, erken Orta\u00e7a\u011f&#8217;da <\/strong>farkl\u0131 k\u00f6kenlerden gelen <strong>\u00e7e\u015fitli halklar taraf\u0131ndan iyi bilinen, bilinmeyen ancak a\u00e7\u0131k\u00e7a \u00f6nemli bir kozmogonik ve bereket mitini temsil eden bir ideogramd\u0131<\/strong>&#8221; diye yaz\u0131yorlar.\u00a0\u00a0\u00a0\u00a0\u00a0<\/em><\/p><p>\u00a0<em>&#8220;Kurban\u0131n\u0131 yutan bir y\u0131lan ya da y\u0131lan motifi Cermen, Avar ve Slav mitolojisinde g\u00f6r\u00fcl\u00fcr. Bu evrensel olarak anla\u015f\u0131labilir ve \u00f6nemli bir ideogramd\u0131&#8221; diyor Masaryk \u00dcniversitesi Sanat Fak\u00fcltesi Arkeoloji ve M\u00fczecilik B\u00f6l\u00fcm\u00fc Ba\u015fkan\u0131 Ji\u0159\u00ed Mach\u00e1\u010dek. &#8220;Bug\u00fcn tam anlam\u0131 hakk\u0131nda sadece spek\u00fclasyon yapabiliriz, ancak Orta \u00c7a\u011f&#8217;\u0131n ba\u015flar\u0131nda Orta Avrupa&#8217;da ya\u015fayan \u00e7e\u015fitli halklar\u0131 ruhani bir d\u00fczeyde birbirine ba\u011fl\u0131yordu.&#8221;<\/em><\/p><p><em>\u00d6zellikle de kemer tokalar\u0131n\u0131n yap\u0131m\u0131nda kullan\u0131lan bak\u0131r cevherinin geldi\u011fi \u00fcnl\u00fc Slovakya Cevher Da\u011flar\u0131, Avar Ka\u011fanl\u0131\u011f\u0131&#8217;n\u0131n kalbinin d\u0131\u015f\u0131nda yer ald\u0131\u011f\u0131 i\u00e7in.<\/em><\/p><p><em>Uzmanlar bu gizemli nesnelerin Karpat havzas\u0131 ve \u00f6tesinde -belki de bir k\u00fclt taraf\u0131ndan motive edilen- yo\u011fun bir ileti\u015fim a\u011f\u0131n\u0131 ortaya \u00e7\u0131kard\u0131\u011f\u0131n\u0131 ileri s\u00fcr\u00fcyor. &#8220;Analiz [&#8230;] Orta Avrupa&#8217;da Avar ve Avar olmayan elitler aras\u0131ndaki uzun mesafeli temaslar\u0131 do\u011fruluyor.&#8221;<\/em><\/p><p>Bu makalelerde geli\u015ftirilen sembolizm a\u00e7\u0131s\u0131ndan son derece g\u00fcl\u00fcn\u00e7 olan \u015fey, ana tanr\u0131\u00e7an\u0131n d\u00fcnyay\u0131 (yeniden) yaratan konumunda s\u0131v\u0131lar\u0131n\u0131 d\u00fcnyan\u0131n \u00fczerine ak\u0131tt\u0131\u011f\u0131 kan\u0131tlanm\u0131\u015f bir ger\u00e7ekken, kurba\u011fan\u0131n da y\u0131lan-ejderha gibi sunulmas\u0131 ve her \u015feyden \u00f6nce y\u0131lan\u0131n kurba\u011fay\u0131 yutaca\u011f\u0131 ger\u00e7e\u011fidir.<\/p><p>Ancak burada ana tanr\u0131\u00e7an\u0131n hayvan amblemlerinden biri olan kurba\u011fan\u0131n yenmesi s\u00f6z konusu de\u011fildir (kurba\u011fa sembolizmi i\u00e7in \u00f6zellikle M\u0131s\u0131r&#8217;daki Heqet, tanr\u0131 Noun ve tanr\u0131\u00e7as\u0131 Nounet \u00f6rneklerine bak\u0131n\u0131z).<\/p><p>Sadece resme bak\u0131n:<\/p><p>Senin i\u00e7in b\u00fcy\u00fctece\u011fim:<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-14294\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image31-168x300.png\" alt=\"\" width=\"168\" height=\"300\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image31-168x300.png 168w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image31.png 174w\" sizes=\"(max-width: 168px) 100vw, 168px\" \/><\/p><p>Resim C) Iffelsdorf (GER) b\u00fcy\u00fct\u00fclm\u00fc\u015f.<\/p><p>Eminim siz de bu ejderha y\u0131lan\u0131n\u0131n evrensel \u00e7\u00f6melme pozisyonundaki bu kurba\u011fay\u0131 garip bir \u015fekilde cinsel organ\u0131ndan yakalad\u0131\u011f\u0131n\u0131 g\u00f6rmemek i\u00e7in olduk\u00e7a k\u00f6r olman\u0131z gerekti\u011fini kabul edersiniz.<\/p><p>A\u00e7\u0131k\u00e7as\u0131, bu temsil herhangi bir \u015feyi yutmakla ilgili de\u011fil, daha ziyade b\u00fcy\u00fck orijinal k\u00f6t\u00fc tanr\u0131sall\u0131\u011f\u0131n ve ayn\u0131 zamanda yeniden do\u011fu\u015fun ve \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fcn sembol\u00fc olan y\u0131lan\u0131n ona eri\u015fmenin yollar\u0131n\u0131, yani ana tanr\u0131\u00e7an\u0131n rahminden \u00e7\u0131kan hayati s\u0131v\u0131larla beslenmeyi g\u00f6stermesiyle ilgilidir.<\/p><p>Bu, pagan tap\u0131nanlar\u0131n\u0131 bu ayini \u015fu \u015fekilde kutlamaya davet etmenin bir yoluydu: \u00d6l\u00fcms\u00fcz olmak istiyorsan\u0131z, kendinizi kayna\u011f\u0131ndan beslemeniz gereken \u015fey budur, \u00e7\u00fcnk\u00fc ya\u015fayanlar ve \u00f6l\u00fcler d\u00fcnyas\u0131n\u0131n k\u00f6keninde t\u00fcm ya\u015fam\u0131n kayna\u011f\u0131 yatmaktad\u0131r.<\/p><p>Daha \u00f6nce g\u00f6rd\u00fc\u011f\u00fcm\u00fcz her \u015feyin \u0131\u015f\u0131\u011f\u0131nda, bu inanc\u0131n ve ona e\u015flik eden ayinin daha a\u00e7\u0131k bir \u00f6rne\u011fini d\u00fc\u015f\u00fcnmek zor.<\/p><p>\u00a0<\/p><h3><span style=\"color: #000000;\">AMAZONYA&#8217;DAKI\u0307 ARAWAK K\u00dcLT\u00dcR\u00dcNDEN ANA TANRI\u00c7A ATAGEY<\/span><\/h3><p>\u00a0<\/p><p>Avarlar\u0131n bu temsilini daha iyi anlamak ve evrenselli\u011finin bir ba\u015fka kan\u0131t\u0131 olarak Arawak ana tanr\u0131\u00e7as\u0131 Atagey \u00f6rne\u011fine d\u00f6nebiliriz<a href=\"#_ftn100\" name=\"_ftnref100\">[100]<\/a> :<\/p><p><img decoding=\"async\" class=\"alignnone size-medium wp-image-14985\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image37-167x300.png\" alt=\"\" width=\"167\" height=\"300\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image37-167x300.png 167w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image37.png 222w\" sizes=\"(max-width: 167px) 100vw, 167px\" \/><\/p><p>Foto\u011fraf kredileri : @botanical.sorcery #storiadellarte #arthistory #histoiredelart #medievalart #petroglyphs #portorico #medievaltattoo #mittelalter #godess #anthropologie<\/p><p><em>\u00a0<\/em><\/p><p>G\u00f6zleri kapal\u0131 ya\u015fl\u0131 bir kad\u0131n olarak tasvir edildi\u011fine dikkatinizi \u00e7ekerim.<\/p><p>Ve hepsinden \u00f6nemlisi, al\u0131nt\u0131lanan referansta belirtildi\u011fi gibi (bunu s\u00f6yleyen ben de\u011filim!) bacaklar\u0131 kurba\u011falar\u0131n ayaklar\u0131na benzer&#8230;<\/p><p>Farkl\u0131 k\u0131talardan ve farkl\u0131 zamanlardan al\u0131nan bu farkl\u0131 \u00f6rnekler (G\u00fcney Amerika Mayalar\u0131, Avustralya Aborjinleri, Bat\u0131 Avrupa Keltleri, Yeni Gine Melanezyal\u0131lar\u0131, Orta Avrupa Avarlar\u0131, Mezoamerika Arawaklar\u0131) arac\u0131l\u0131\u011f\u0131yla bu temsil, inan\u00e7 ve uygulaman\u0131n evrenselli\u011fini ve tarihsel zamans\u0131zl\u0131\u011f\u0131n\u0131 anlad\u0131ktan sonra, \u015fimdi tarih \u00f6ncesi d\u00f6nemlerdeki k\u00f6klerine d\u00f6nelim:<\/p><p><em>\u00a0<\/em><\/p><p><span style=\"color: #000000;\"><strong>\u00dcST PALAOL\u0130T\u0130K D\u00d6NEMDEN B\u0130R \u00d6RNEK: FONTAINEBLEAU (Fransa)<\/strong><\/span><\/p><p>\u00a0<\/p><p>\u0130\u015fte 26\/10\/2020 tarihinde Le Monde gazetesinde yay\u0131nlanan Une &#8220;Origine du monde&#8221; pr\u00e9historique \u00e0 Fontainebleau ba\u015fl\u0131kl\u0131 makalede g\u00f6rebilecekleriniz ve okuyabilecekleriniz:<\/p><p><em>Bir kumta\u015f\u0131 s\u0131\u011f\u0131na\u011f\u0131nda, k\u0131smen insanlar taraf\u0131ndan olu\u015fturulan ve \u00dcst Paleolitik d\u00f6neme kadar uzanan bir hidrolik sistem bulunmaktad\u0131r: <\/em><\/p><p>\u0130\u015fte s\u00f6z konusu resim:<\/p><p><em> <img decoding=\"async\" class=\"alignnone size-medium wp-image-14304\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image32-300x201.jpg\" alt=\"\" width=\"300\" height=\"201\" srcset=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image32-300x201.jpg 300w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image32-1024x685.jpg 1024w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image32-768x513.jpg 768w, https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image32.jpg 1104w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/em><\/p><p><em>K\u0131smen \u00dcst Paleolitik \u00c7a\u011f&#8217;da insanlar taraf\u0131ndan yarat\u0131lan \u00fc\u00e7 derin yar\u0131k, iki at taraf\u0131ndan \u00e7evrelenmi\u015ftir. EMILIE LESVIGNES<\/em><\/p><p><em>\u00a0<\/em><em>Nemours ve \u00c9tampes aras\u0131nda&#8221; &#8230; &#8220;Binlerce y\u0131l \u00f6nce, so\u011fuk, a\u011fa\u00e7s\u0131z bir kum denizinden y\u00fckselen bu kumta\u015f\u0131 kaotik olu\u015fumlar, uzak atalar\u0131m\u0131z\u0131 ba\u015fka bir faaliyete \u00e7ekti: oymac\u0131l\u0131k. Bug\u00fcn b\u00f6lgede, tarih \u00f6ncesi insanlar\u0131n ta\u015fa kaz\u0131nm\u0131\u015f izlerini ta\u015f\u0131yan en az iki bin kaya s\u0131\u011f\u0131na\u011f\u0131 bulunmaktad\u0131r. <strong>Bu grav\u00fcrlerin \u00e7o\u011fu 9.000 y\u0131l \u00f6ncesine, b\u00f6lgenin son avc\u0131 toplay\u0131c\u0131lar\u0131n\u0131n eseri olan Mezolitik d\u00f6neme aittir<\/strong>. Tek g\u00f6rd\u00fc\u011f\u00fcm\u00fcz geometrik \u015fekiller, \u00e7izgi \u00e7izgiler, \u0131zgaralar, daha fazla \u00e7izgi&#8230;<\/em><\/p><p><em>\u00a0<\/em><em>Yine de, bu biraz yorucu tekrar\u0131n ortas\u0131nda, bu atalar\u0131n <strong>atalar\u0131 taraf\u0131ndan b\u0131rak\u0131lan \u00e7ok daha eski bir fig\u00fcratif istisna vard\u0131r<\/strong>. <\/em><\/p><p><em>Kalbinde iki ince, do\u011fal, paralel ge\u00e7it bulunan a\u011f\u0131r bir kumta\u015f\u0131 blo\u011fudur. Alttakine s\u00fcr\u00fcnerek giriyorsunuz ve giri\u015fin hemen solundaki <strong>duvar, biri k\u00f6t\u00fc bir \u015fekilde a\u015f\u0131nm\u0131\u015f, di\u011feri \u00e7ok daha eksiksiz olan iki at\u0131n, ortas\u0131nda vulva bulunan bir kad\u0131n pubisini \u00e7a\u011fr\u0131\u015ft\u0131ran ve \u00fc\u00e7 <\/strong>tipografik karaktere \u00e7evrilebilen <strong>sadece <\/strong>\u00fc\u00e7 <strong>derin kesikten olu\u015fan ilgin\u00e7 bir fig\u00fcr\u00fc \u00e7er\u00e7eveledi\u011fi k\u00fc\u00e7\u00fck bir panel olu\u015fturuyor:<\/strong> \\I\/.<\/em><\/p><p><em>\u00a0<\/em><em>Panelin sa\u011f taraf\u0131nda, <strong>kayadaki do\u011fal bir \u00e7atlak, bir kal\u00e7ay\u0131 ve bir uylu\u011fun \u00fcst k\u0131sm\u0131n\u0131 \u00e7a\u011fr\u0131\u015ft\u0131racak \u015fekilde b\u00fcy\u00fct\u00fclm\u00fc\u015ft\u00fcr<\/strong>. Sol tarafta, giri\u015fe do\u011fru e\u011fimli olan duvardaki \u00e7atal da ayn\u0131 rol\u00fc oynamaktad\u0131r. Bir ad\u0131m geri \u00e7ekilirseniz &#8211; ki dar bir galeride d\u00f6rt ayak \u00fczerinde oldu\u011funuzda bu zordur &#8211; D\u00fcnyan\u0131n K\u00f6keni&#8217;nin bir t\u00fcr tarih \u00f6ncesi, minimalist versiyonunu g\u00f6rebilirsiniz.<\/em><\/p><p><em>\u00a0<\/em><em>\u015eans ve k\u00f6t\u00fc hava ko\u015fullar\u0131: Enstr\u00fcmantal y\u00f6ntemler kullanarak grav\u00fcr\u00fcn ya\u015f\u0131n\u0131 bilmenin bir yolu yok, ancak buna gerek de yok, diye a\u00e7\u0131kl\u0131yor Paris-I \u00dcniversitesi&#8217;nde tarih \u00f6ncesi arkeoloji profes\u00f6r\u00fc Boris Valentin: &#8220;Orant\u0131s\u0131zl\u0131klar\u0131 ve i\u015fleni\u015f tarz\u0131yla, <strong>at\u0131n tamam\u0131 Lascaux&#8217;daki Dordogne&#8217;da ya da Gabillou ma\u011faras\u0131ndaki <\/strong>grav\u00fcrlerde g\u00f6r\u00fclenlerin <strong>t\u00fcm stilistik \u00f6zelliklerini ta\u015f\u0131yor. Boris Valentin&#8217;in hafif kalpli ifadesiyle &#8220;Lascaux ekol\u00fc&#8221;, \u00dcst Paleolitik \u00c7a\u011f ile e\u015f anlaml\u0131d\u0131r ve yirmi bin y\u0131ldan daha eskiye dayanan bir temsiliyettir.<\/strong><\/em><\/p><p><em>\u00a0<\/em><strong><em>&#8220;\u015eiddetli ya\u011fmurdan sonra s\u0131\u011f\u0131na\u011fa gittim. &#8216;Vulval yar\u0131k&#8217; s\u0131zd\u0131r\u0131yordu.&#8221;<\/em><\/strong><\/p><p><em>Bu oyma panel uzun zamand\u0131r biliniyordu, ancak bilimin g\u00fczelli\u011fi, nesnelerini yeniden incelemekten asla vazge\u00e7memesidir. Fontainebleau kumta\u015f\u0131 hakk\u0131ndaki derin bilgisini arkeologlara hediye eden, \u00c9cole des Mines&#8217;in eski ara\u015ft\u0131rmac\u0131lar\u0131ndan jeolog M\u00e9dard Thiry&#8217;nin anlatt\u0131\u011f\u0131na g\u00f6re grav\u00fcr bir s\u0131r olarak saklan\u0131yordu ve ke\u015ffi biraz da \u015fansa ve k\u00f6t\u00fc hava ko\u015fullar\u0131na ba\u011fl\u0131yd\u0131: &#8220;<strong>23 Ocak 2018&#8217;de, Seine nehrinin ta\u015fmas\u0131na neden olan ya\u011fmurun ard\u0131ndan s\u0131\u011f\u0131na\u011fa gittim. &#8216;Yar\u0131k vulva&#8217; ak\u0131yordu.<\/strong> Bu ger\u00e7ekten etkileyiciydi ve o andan itibaren bu ak\u0131\u015f\u0131n iste\u011fe ba\u011fl\u0131 olarak da tetiklenip tetiklenemeyece\u011fini anlamaya \u00e7al\u0131\u015ft\u0131m.&#8221;<\/em><\/p><p><em>\u00a0<\/em><em>Ama nas\u0131l? M\u00e9dard Thiry&#8217;nin kendi fikri vard\u0131. S\u0131\u011f\u0131na\u011f\u0131n ilkine paralel uzanan \u00fcst ge\u00e7idinde, ancak daha yukar\u0131da, oyulmu\u015f duvar\u0131n yakla\u015f\u0131k on santimetre gerisinde, kayada iki \u00e7ukur oldu\u011funu <strong>fark etmi\u015fti. Galeriye giren ya\u011fmur suyunun topland\u0131\u011f\u0131 iki do\u011fal havza.<\/strong><\/em><\/p><p><strong><em>\u00a0<\/em><\/strong><em>M\u00e9dard Thiry, <strong>&#8220;Bu havzalardan birinin geometrisini, <\/strong>onu derinle\u015ftirmek, a\u015fa\u011f\u0131daki kayadaki \u00e7atlaklar\u0131 serbest b\u0131rakmak ve muhtemelen geni\u015fletmek i\u00e7in <strong>de\u011fi\u015ftirdik<\/strong>&#8221; diyor. Jeolog ve arkeologlardan olu\u015fan bir ekip, alandaki her bir \u00e7atla\u011f\u0131n yan\u0131 s\u0131ra &#8216;pubis&#8217;in her iki taraf\u0131ndaki derin \u00e7izgileri de titizlikle analiz etti. Bunlar a\u00e7\u0131k\u00e7a <strong>bir ya da daha fazla insan eli taraf\u0131ndan kaz\u0131lm\u0131\u015f ve <\/strong>k\u00fc\u00e7\u00fck delme ve \u00e7\u0131karma izleri hala <strong>kayan\u0131n iki yanal \u00f6zelli\u011fi geni\u015fletmek i\u00e7in vuruldu\u011funu <\/strong>g\u00f6steriyor.<strong> Ama\u00e7 ne? G\u00f6zenekli kumta\u015f\u0131n\u0131n i\u00e7ine s\u0131zan suyu orta yar\u0131\u011fa do\u011fru y\u00f6nlendirmek.<\/strong><\/em><\/p><p><em>\u00a0<\/em><em>Bunu kan\u0131tlamak i\u00e7in ara\u015ft\u0131rmac\u0131lar, Journal of Archaeological Science: Reports dergisinin Ekim say\u0131s\u0131nda yay\u0131nlanan bir \u00e7al\u0131\u015fmada anlat\u0131ld\u0131\u011f\u0131 gibi deneyi kendileri ger\u00e7ekle\u015ftirdiler. Bir hafta boyunca, olduk\u00e7a basit bir tank ve vana sistemi havzaya su sa\u011flad\u0131 ve s\u0131v\u0131 kayaya n\u00fcfuz ettik\u00e7e otomatik olarak sabit bir seviyeyi korudu. M\u00e9dard Thiry, &#8220;Su kumta\u015f\u0131 boyunca bu \u015fekilde ilerleyemez. Kayadaki t\u00fcm g\u00f6zenekler doyana kadar beklemek zorundad\u0131r ve ancak o zaman a\u015fa\u011f\u0131 iner ve alt k\u0131s\u0131mda yo\u011funla\u015f\u0131r. Deneyimizde yakla\u015f\u0131k elli litre su kulland\u0131k ve iki bu\u00e7uk g\u00fcn sonra vulval fiss\u00fcr akmaya ba\u015flad\u0131&#8230;&#8221;.<\/em><\/p><p><em>\u00a0<\/em><em>Hidrolik geli\u015fim :<\/em><\/p><p><strong><em>Bu, tarih \u00f6ncesi tasvirlerin suyla ili\u015fkilendirildi\u011fi ilk olay de\u011fildir. Quercy b\u00f6lgesindeki ma\u011faralarda, <\/em><\/strong><em>tarih \u00f6ncesi sanat uzman\u0131 Michel Lorblanchet, <strong>Pergouset ma\u011faras\u0131nda (Lot) a\u011fz\u0131ndan \u00e7e\u015fme akan bir bal\u0131k da dahil olmak \u00fczere, yeralt\u0131 kaynaklar\u0131n\u0131n etraf\u0131na resimlerin yaz\u0131ld\u0131\u011f\u0131 bir <\/strong>dizi vaka g\u00f6stermi\u015ftir.<strong> M\u00e9dard Thiry, bu \u00f6rneklerde bezemenin mevcut suyun etraf\u0131nda d\u00fczenlendi\u011fini belirtiyor. <\/strong>Ancak suyu belirli bir yere y\u00f6nlendirecek bir d\u00fczen yoktu. <strong>\u0130lk kez, Paleolitik d\u00f6nemde sahneyi ayarlamak i\u00e7in kullan\u0131lan sofistike bir hidrolik sistemi tan\u0131ml\u0131yoruz.<\/strong><\/em><\/p><p><em>\u00a0<\/em><em>Ma\u011fara resimlerine yorum getirmeye cesaret edemeyen arkeologlar\u0131n \u00f6nyarg\u0131lar\u0131ndan yoksun olan <strong>jeolog, bu ayg\u0131tta anneli\u011fin bir temsilini g\u00f6rmektedir. <u>Pubis \u00fczerindeki d\u0131\u015fb\u00fckey tavan ile kad\u0131n hamile olabilir ve ak\u0131nt\u0131 do\u011fumdan \u00f6nce su kayb\u0131n\u0131 temsil edebilir<\/u>. Peki <\/strong>ama sadece bir kad\u0131n m\u0131 var, diye soruyoruz kendimize ku\u015fkuyla? Bu yar\u0131klara bir fantezi yans\u0131tm\u0131yor muyuz?<\/em><\/p><p><em>\u00a0<\/em><strong><em>Boris Valentin&#8217;e g\u00f6re bu konuda \u015f\u00fcpheye yer yok: &#8220;Paleolitik \u00e7a\u011fda, \u00f6rne\u011fin Chauvet ma\u011faras\u0131ndaki Salle du Fond&#8217;da, kad\u0131n ve kad\u0131n cinsiyetinin \u00e7ok say\u0131da oyulmu\u015f, yontulmu\u015f ve boyanm\u0131\u015f tasviri var. <\/em><\/strong><strong><em>Vienne&#8217;deki Roc-aux-Sorciers&#8217;de de, sadece kar\u0131n, kas\u0131k ve bacaklar\u0131n ba\u015flang\u0131c\u0131n\u0131 g\u00f6rebildi\u011fimiz, biri a\u00e7\u0131k\u00e7a hamile olan \u00fc\u00e7 kad\u0131n vard\u0131r.<\/em><\/strong><\/p><p><em>\u00a0<\/em><em>Fontainebleau orman\u0131nda, bu at bar\u0131na\u011f\u0131n\u0131n nas\u0131l kullan\u0131ld\u0131\u011f\u0131n\u0131 kesin olarak ortaya koymak m\u00fcmk\u00fcn olmayacakt\u0131r; ancak Boris Valentin, &#8220;ak\u0131\u015f\u0131 zorlayabilmemiz, sistemin suyu iletebilmesi, su ve ma\u011fara sanat\u0131 aras\u0131ndaki ili\u015fkiye dair bilgi birikimimiz a\u00e7\u0131s\u0131ndan zaten muazzam bir bilgidir&#8221; diye \u0131srar etmektedir.<\/em><\/p><p><em>\u00a0<\/em><\/p><p><strong>FONTAINEBLEAU HAKKINDA KISA BI\u0307R A\u00c7IKLAMA<\/strong><\/p><p><em>\u00a0<\/em><\/p><p>Yukar\u0131da s\u00f6ylenenler ve g\u00f6sterilenler \u0131\u015f\u0131\u011f\u0131nda, bunun ne anlama geldi\u011fi konusunda art\u0131k daha iyi bir fikre sahip oldu\u011funuzu d\u00fc\u015f\u00fcn\u00fcyorum.<\/p><p>Burada iki at\u0131n sembolizmine girmeyece\u011fim bile<a href=\"#_ftn101\" name=\"_ftnref101\">[101]<\/a> .<\/p><p>\u00d6nemli olan, bu makalede ad\u0131 ge\u00e7en ara\u015ft\u0131rmac\u0131lar\u0131n, bu temsilin k\u0131\u015fk\u0131rt\u0131lm\u0131\u015f, kurgulanm\u0131\u015f karakteriyle simgesel oldu\u011funu ve tesad\u00fcf\u00fcn sonucu olamayaca\u011f\u0131n\u0131, aksine tonozun kullan\u0131m\u0131, heykel ve kayan\u0131n haz\u0131rlanmas\u0131 yoluyla, tam do\u011fum an\u0131nda rahmindeki su bo\u015falt\u0131lan hamile bir kad\u0131n\u0131 temsil etme arzusunun bir par\u00e7as\u0131 oldu\u011funu \u00e7ok iyi anlam\u0131\u015f olmalar\u0131d\u0131r.<\/p><p>Yukar\u0131da s\u00f6ylenenlerin \u0131\u015f\u0131\u011f\u0131nda, buradaki fikrin, kayan\u0131n ana tanr\u0131\u00e7as\u0131n\u0131 d\u00fcnyay\u0131, ya\u015fayanlar\u0131 ve \u00f6l\u00fcleri yeni bir ya\u015fam i\u00e7in do\u011fururken ve sonu\u00e7 olarak v\u00fccut s\u0131v\u0131lar\u0131n\u0131, hayati s\u0131v\u0131lar\u0131n\u0131, d\u00fcnyadaki ya\u015fam\u0131n ve bollu\u011fun kayna\u011f\u0131n\u0131 yayarken temsil etmek oldu\u011funu anlamak kolayd\u0131r.<\/p><p>Bu suyun orada bulunanlar taraf\u0131ndan (hatta abdest alarak) i\u00e7ilmesi gerekti\u011fi ger\u00e7e\u011fi, <u>tarih \u00f6ncesi d\u00fc\u015f\u00fcncede bu kaynaktan su i\u00e7menin mistik a\u00e7\u0131dan ana tanr\u0131\u00e7an\u0131n rahminden akan s\u0131v\u0131lar\u0131 i\u00e7mekle e\u015fde\u011fer oldu\u011funun <\/u>ink\u00e2r edilemez bir kan\u0131t\u0131d\u0131r.<\/p><p>Bu k\u00fclt yap\u0131s\u0131n\u0131n (bilimsel) zaman \u00e7izgisinde, s\u00f6z konusu uzmanlar\u0131n da kabul etti\u011fi \u00fczere, Neolitik \u00c7a\u011f&#8217;da de\u011fil (G\u00f6bekli Tepe, Malta&#8217;daki megalitik tap\u0131naklar ve Stonehenge gibi daha \u00f6nce analiz edilmi\u015f olan \u00fc\u00e7 alan gibi), \u00dcst Paleolitik \u00c7a\u011f&#8217;da<a href=\"#_ftn102\" name=\"_ftnref102\">[102]<\/a> ! (\u00f6rne\u011fin Lascaux zaman\u0131nda), yani bilimsel bir bak\u0131\u015f a\u00e7\u0131s\u0131yla Neolitik \u00c7a\u011f&#8217;dan \u00e7ok \u00f6nce yer ald\u0131\u011f\u0131n\u0131 belirtmek de ilgin\u00e7tir.<\/p><p>\u00a0Bu nedenle, yukar\u0131da s\u00f6ylenenlerin \u0131\u015f\u0131\u011f\u0131nda, \u00dcst Paleolitik \u00c7a\u011f&#8217;dan Orta \u00c7a\u011f&#8217;a kadar uzanan bir k\u00fclt uygulamas\u0131d\u0131r&#8230;<\/p><p><em>\u00a0<\/em><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" name=\"_Toc83502506\"><\/a><strong>\u00dcST PALEOLI\u0307TI\u0307K D\u00d6NEMDEN BI\u0307R \u00d6RNEK: LAUSSEL VEN\u00dcS\u00dc<\/strong><\/span><\/p><p>\u00a0<\/p><p>\u00c7\u00f6melmi\u015f tanr\u0131\u00e7a ile s\u0131v\u0131lar aras\u0131ndaki ili\u015fkiye dair bu konsepti daha iyi a\u00e7\u0131klamak i\u00e7in ve \u00e7\u00f6melmi\u015f pozisyondaki ana tanr\u0131\u00e7a heykelciklerinin \u00e7ok say\u0131da \u00f6rne\u011fi oldu\u011fu g\u00f6zlemi do\u011frultusunda, burada &#8216;bilimsel&#8217; olarak \u00dcst Paleolitik&#8217;teki Gravetian d\u00f6nemine, yani -31.000 ila 22.000 y\u0131l \u00f6ncesine tarihlenen bir g\u00f6r\u00fcnt\u00fc yer almaktad\u0131r:<\/p><p><img decoding=\"async\" class=\"alignnone size-full wp-image-14319\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image33.png\" alt=\"\" width=\"156\" height=\"224\" \/><\/p><p><em>Venus de Laussel<\/em><\/p><p><em>\u00a0<\/em><\/p><p>\u0130\u015fte onun hakk\u0131nda okuyabilecekleriniz:<\/p><p><em>Laussel Ven\u00fcs\u00fc veya Boynuzlu Ven\u00fcs, Gravettian d\u00f6neminden (yakla\u015f\u0131k 25.000 y\u0131l \u00f6nce) kalma bir Paleolitik Ven\u00fcs&#8217;t\u00fcr.<\/em><\/p><p><em>Ven\u00fcs cepheden tasvir edilmi\u015ftir. Sa\u011f elinde, Waldemar Deonna&#8217;ya (1913) g\u00f6re bir <strong>cornucopia&#8217;y\u0131 temsil edebilecek <\/strong>bir bufalo boynuzu tutmaktad\u0131r. Bu boynuzun \u00fczerinde 13 \u00e7entik vard\u0131r; baz\u0131 ara\u015ft\u0131rmac\u0131lar bunlar\u0131n 13 y\u0131ll\u0131k ay d\u00f6ng\u00fcs\u00fcn\u00fc veya <strong>adet d\u00f6ng\u00fcs\u00fcn\u00fc <\/strong>temsil edebilece\u011fini \u00f6ne s\u00fcrm\u00fc\u015flerdir.<\/em><\/p><p><em>\u00a0<\/em><strong><em>Sol eli karn\u0131n\u0131n \u00fczerinde duruyor, bu da muhtemelen hamile oldu\u011funu g\u00f6steriyor.<\/em><\/strong><em> Sa\u00e7lar\u0131 sol omzunun \u00fczerine d\u00fc\u015fm\u00fc\u015f gibi g\u00f6r\u00fcnmektedir. T\u00fcm Paleolitik Ven\u00fcslerde oldu\u011fu gibi, <strong>kar\u0131n, kal\u00e7alar, g\u00f6\u011f\u00fcsler, kal\u00e7alar ve vulva gibi baz\u0131 k\u0131s\u0131mlar abart\u0131l\u0131 bir \u015fekilde <\/strong>geli\u015ftirilmi\u015fken, ayaklar ve <strong>boynuza do\u011fru d\u00f6n\u00fck y\u00fcz gibi <\/strong>di\u011fer <strong>k\u0131s\u0131mlar yoktur.<\/strong><\/em><\/p><p><strong><em>\u00a0<\/em><\/strong><em>https:\/\/fr.wikipedia.org\/wiki\/V\u00e9nus_de_Laussel<\/em><\/p><p>Burada kadehin ve \u00f6zellikle de bolluk kadehinin (3. ciltte mevcut) sembolizmine geri d\u00f6nemem, ancak bunun \u00f6zellikle bu ba\u011flamda ana tanr\u0131\u00e7a matrisinin sembollerinden biri oldu\u011fu fazlas\u0131yla g\u00f6sterilmi\u015ftir.\u00a0 Bolluk boynuzu da s\u0131v\u0131lar\u0131n sembolizmiyle do\u011frudan ba\u011flant\u0131l\u0131d\u0131r, \u00e7\u00fcnk\u00fc Ana Tanr\u0131\u00e7a bunlar\u0131 t\u0131pk\u0131 bir fincanla yapt\u0131\u011f\u0131 gibi toplar ve da\u011f\u0131t\u0131r, sadece \u00f6lenlere \u00f6l\u00fcms\u00fczl\u00fck de\u011fil, ayn\u0131 zamanda ya\u015fayanlara da bolluk ve maddi refah getirir.<\/p><p>Bu imgeyi g\u00f6rd\u00fc\u011f\u00fcm\u00fczde anlamam\u0131z gereken \u015fey, \u00e7\u00f6melme pozisyonu, gebelik ve do\u011fum aras\u0131ndaki do\u011frudan ili\u015fkidir &#8211; herkesin <strong>kolayl\u0131kla <\/strong>g\u00f6zlemleyebilece\u011fi bir \u015fey &#8211; ve ancak <strong>sembolizmi anlarsak a\u00e7\u0131k olan bir \u015fey: ana tanr\u0131\u00e7an\u0131n toplad\u0131\u011f\u0131 bolluk kab\u0131nda bulunan ve etraf\u0131ndaki ya\u015fayanlar ve \u00f6l\u00fcler d\u00fcnyas\u0131na, egemen oldu\u011fu iki d\u00fcnyaya yayaca\u011f\u0131 bedensel s\u0131v\u0131lar\u0131. Bunun amniyotik sular\u0131n\u0131n yan\u0131 s\u0131ra adet sular\u0131 da olabilece\u011fini anl\u0131yoruz, ancak bir kez daha, sadece bu de\u011fil, potansiyel olarak t\u00fcm v\u00fccut s\u0131v\u0131lar\u0131, <\/strong>\u00e7\u00fcnk\u00fc ya\u015fam\u0131n ana tanr\u0131\u00e7as\u0131 ve kurtar\u0131c\u0131 o\u011flun annesi, D\u00fcnya&#8217;n\u0131n ve yeralt\u0131 d\u00fcnyas\u0131n\u0131n, \u00f6l\u00fcler d\u00fcnyas\u0131n\u0131n ana tanr\u0131\u00e7as\u0131 olarak, v\u00fccudundan yay\u0131lan her \u015feyin bu d\u00fcnyada bolluk ve ya\u015fam, \u00f6b\u00fcr d\u00fcnyada \u00f6l\u00fcms\u00fczl\u00fck ve tanr\u0131sall\u0131k getirmesi muhtemeldir.<\/p><p>\u00a0<\/p><h2><span style=\"color: #000000;\">DAVET\u0130YE<\/span><\/h2><p>\u00a0<\/p><p>\u00c7\u00f6melmi\u015f ana tanr\u0131\u00e7a sembolizmini \u00f6l\u00fcmden yeniden do\u011fu\u015f \u00f6\u011fretisinin bir par\u00e7as\u0131 olarak anlad\u0131ktan sonra, \u015fimdi sizi bir sonraki b\u00f6l\u00fcm\u00fc veya makaleyi okumaya davet ediyorum: Elin \u00f6nemli bir sembolizmi: \u00e7\u00f6melmi\u015f ana tanr\u0131\u00e7a.<\/p><p>Elin sembolizmi ku\u015fkusuz en \u00e7ok anlaml\u0131 sembollerden biri olsa bile, neden en \u00f6nemli sembolizmlerinden birinin b\u00fcy\u00fck tanr\u0131sall\u0131\u011f\u0131 temsil etmek oldu\u011funu ve nas\u0131l oldu\u011funu g\u00f6rece\u011fiz.<\/p><p>\u00a0<\/p><p>\u00a0<\/p><h2><span style=\"color: #000000;\">REFERANSLAR VE DI\u0307PNOTLAR <\/span><\/h2><p>\u00a0<\/p><p><a href=\"#_ftnref1\" name=\"_ftn1\"><strong>[1]<\/strong><\/a> Bu durum, Giza&#8217;y\u0131 incelerken g\u00f6rece\u011fimiz Abydos&#8217;ta oldu\u011fu gibi, mayal\u0131 i\u00e7eceklerin kutsal alanlarda neredeyse sistematik bir \u015fekilde bulunmas\u0131n\u0131 ve etraflar\u0131nda b\u00fcy\u00fck sarn\u0131\u00e7lar ya da bira yap\u0131m yerleri olmas\u0131n\u0131 a\u00e7\u0131klamaktad\u0131r.<\/p><p><a href=\"https:\/\/www.sciencesetavenir.fr\/archeopaleo\/archeologie\/decouverte-en-egypte-de-ce-qui-serait-la-plus-vieille-brasserie-au-monde_151768\">(https:\/\/www.sciencesetavenir.fr\/archeopaleo\/archeologie\/decouverte-en-egypte-de-ce-qui-serait-la-plus-vieille-brasserie-au-monde_151768)<\/a> veya \u00f6rne\u011fin G\u00f6bekli Tepe&#8217;de).<\/p><p><a href=\"#_ftnref2\" name=\"_ftn2\">[2]<\/a> Psikostazi ya da ruhlar\u0131n tart\u0131lmas\u0131 s\u0131ras\u0131nda, yar\u0131 aslan, yar\u0131 su ayg\u0131r\u0131 ve yar\u0131 timsah olan melez bir canavar olan &#8220;yiyici&#8221; Amamet (Ama\u00eft) yak\u0131nlarda <u>\u00e7\u00f6melir ve <\/u>su\u00e7lunun yutulmas\u0131n\u0131 bekler. (F.GUIRAND, 1996, s. 60)<\/p><p><a href=\"#_ftnref3\" name=\"_ftn3\">[3]<\/a> Ayakta duran ya da <u>topuklar\u0131 \u00fczerinde oturan <\/u>ve ba\u015f\u0131nda &#8220;hakikat ya da adalet&#8221; anlam\u0131na gelen isminin ideogram\u0131 olan deveku\u015fu t\u00fcy\u00fc bulunan bir kad\u0131n olarak tasvir edilen Maat (Ma\u00eet, Ma), hukuk, hakikat ve adalet tanr\u0131\u00e7as\u0131d\u0131r. (F.GUIRAND, 1996, s. 61)<\/p><p><a href=\"#_ftnref4\" name=\"_ftn4\">[4]<\/a><strong> sa-tu<\/strong>: da\u011f; \u00fcst k\u0131s\u0131mlar (Akk. \u0161ad\u00fb<strong>(m<\/strong>) I, &#8216;da\u011f(lar)&#8217;).<\/p><p>(Halloran, s. 133)<\/p><p><a href=\"#_ftnref5\" name=\"_ftn5\">[5]<\/a> Cf Volume 4 \/ Sumerian-French Lexicon:<strong> \u0161\u00e0 <\/strong>= (cf.<strong>,<\/strong><strong> \u0161ag5<\/strong>) -)<strong> \u0161ag4,<\/strong><strong>\u00a0\u0161\u00e0 <\/strong>= isimler: ba\u011f\u0131rsaklar, kalp, mide, kar\u0131n, ba\u011f\u0131rsaklar, rahim, v\u00fccut, i\u00e7, orta, i\u00e7, nehir yata\u011f\u0131, irade, ruh hali, anlam veya \u00f6nem (tah\u0131l \/ ekstre + su \/ idrar + i\u00e7i bo\u015f kap) dayal\u0131 :<\/p><p><strong>\u0161ag4<\/strong><strong>, \u0161\u00e0 <\/strong>= n., ba\u011f\u0131rsaklar; ba\u011f\u0131rsak; kalp; mide; kar\u0131n; ba\u011f\u0131rsaklar; i\u00e7erik; rahim; v\u00fccut; i\u00e7, orta, i\u00e7; bir nehrin yata\u011f\u0131; irade, irade; ruh hali; anlam, \u00f6nem (tah\u0131l \/ salg\u0131 + su \/ idrar + oda). (Halloran, s. 27)<\/p><p><a href=\"#_ftnref6\" name=\"_ftn6\">[6]<\/a> Cf Volume 4 \/ Sumerian-French Lexicon: <strong>D\u00fa <\/strong>= <strong>tud <\/strong>= <strong>tud, tu, d\u00fa = to bear, <\/strong>give birth to; beget to; to make, fashion, create; to be reborn, transformed, changed (to approach and meet + to go). Based on: <strong>tud, tu, d\u00fa<\/strong>: to bear, give birth to; to beget; to be born; to make, fashion, create; to be reborn, transformed, changed (to approach and meet + to go out). (Halloran, s. 24)<\/p><p><a href=\"#_ftnref7\" name=\"_ftn7\">[7]<\/a> Egelilerin ana tanr\u0131\u00e7as\u0131n\u0131n ad\u0131 neydi? Burada da elimizde kesin belgeler olmad\u0131\u011f\u0131 i\u00e7in varsay\u0131mlara ba\u015fvurmak zorunda kal\u0131yoruz.\u00a0 G\u00f6r\u00fcn\u00fc\u015fe g\u00f6re Girit&#8217;te ona Rhea ad\u0131 alt\u0131nda tap\u0131n\u0131l\u0131yordu. En az\u0131ndan bu isim, antik Girit ilahesinin daha sonra kendisine o\u011flu olarak verilen Zeus k\u00fclt\u00fc ile ili\u015fkilendirildi\u011fi isimdir; g\u00f6rece\u011fimiz gibi bu gelenek Hesiod taraf\u0131ndan Teogoni&#8217;sinde devam ettirilmi\u015ftir (F.GUIRAND, 1996, s. 116).<\/p><p><a href=\"#_ftnref8\" name=\"_ftn8\"><strong>[8]<\/strong><\/a> Bir\u00e7ok Asya k\u00fclt\u00fcnde oldu\u011fu gibi, Ege&#8217;nin ana tanr\u0131s\u0131 da di\u015fildi.\u00a0 O, tanr\u0131sall\u0131\u011f\u0131n t\u00fcm niteliklerini ve i\u015flevlerini bir araya getiren B\u00fcy\u00fck Tanr\u0131\u00e7a, evrensel anneydi.<\/p><p>D\u00f6nemine g\u00f6re B\u00fcy\u00fck Tanr\u0131\u00e7a \u00e7\u00f6melmi\u015f ya da ayakta tasvir edilir.<\/p><p>Sa\u00e7 stilleri \u00e7e\u015fitlilik g\u00f6sterir: bazen tanr\u0131\u00e7an\u0131n sa\u00e7lar\u0131 serbesttir, basit bir bantla ba\u011flan\u0131r, bazen ba\u015f\u0131 ya \u00e7i\u00e7eklerle ya da ak bal\u0131k\u00e7\u0131llarla s\u00fcsl\u00fc bir t\u00fcrbanla ya da Do\u011fulular gibi konik bir ta\u00e7la, hatta kesik koni \u015feklinde \u00e7ok y\u00fcksek bir ta\u00e7la \u00f6rt\u00fcl\u00fcr (F. GUIRAND, 1996, s. 116).<\/p><p><a href=\"#_ftnref9\" name=\"_ftn9\">[9]<\/a> Do\u011fum tanr\u0131\u00e7alar\u0131 Hera&#8217;n\u0131n k\u0131zlar\u0131 olan \u0130llithyie&#8217;lerdir. Do\u011fum sanc\u0131s\u0131 \u00e7eken kad\u0131nlara hem ac\u0131 -\u0130llithyie&#8217;lerin keskin oku- hem de kurtulu\u015f getirirlerdi. Onlar\u0131n varl\u0131\u011f\u0131 olmadan hi\u00e7bir \u00e7ocuk do\u011famazd\u0131. Homeros&#8217;tan sonra iki \u0130lithyia tek bir ki\u015fide, do\u011fum tanr\u0131\u00e7as\u0131nda birle\u015fmi\u015ftir. Girit k\u00f6kenli oldu\u011funa inan\u0131lan \u00e7ok eski bir ilaheydi. \u00c7o\u011funlukla do\u011fumu destekledi\u011fi s\u00f6ylenen bir pozisyonda diz \u00e7\u00f6km\u00fc\u015f ve \u0131\u015f\u0131\u011f\u0131n sembol\u00fc olan bir me\u015fale tutarken tasvir edilirdi. Baz\u0131 tanr\u0131\u00e7alara Illythia ad\u0131 verilmi\u015ftir: Argos&#8217;ta Hera ve Delos&#8217;ta Artemis. Hatta Ilithyia&#8217;n\u0131n Hera&#8217;n\u0131n bir kopyas\u0131 olup olmad\u0131\u011f\u0131 bile merak edilebilir (F. GUIRAND, 1996, s. 216).<\/p><p><a href=\"#_ftnref10\" name=\"_ftn10\">[10]<\/a> Illythia&#8217;n\u0131n etimolojisi hakk\u0131nda s\u0131radan insanlara s\u00f6ylenen budur:<\/p><p>Yunan mitolojisinde Ilithyia (Antik Yunanca \u0395\u1f30\u03bb\u03b5\u03af\u03b8\u03c5\u03b9\u03b1 \/ Eile\u00edthuia) Do\u011fum Tanr\u0131\u00e7as\u0131d\u0131r. Roma mitolojisindeki Lucine&#8217;e kar\u015f\u0131l\u0131k gelir.<\/p><p>Etimoloji<\/p><p>Ilithyia ad\u0131 en az\u0131ndan Miken Ereutija&#8217;s\u0131na kadar uzan\u0131r ve Knossos&#8217;tan bir tablette bal sunusu ile ba\u011flant\u0131l\u0131 olarak aminiso (Aminisos) s\u00f6zc\u00fc\u011f\u00fc ile birlikte an\u0131l\u0131r. Miken, antik \u1f18\u03bb\u03b5\u03cd\u03b8\u03c5\u03b9\u03b1 \/ Ele\u00fatuia bi\u00e7imini ve daha sonra dissimilasyon yoluyla \u0395\u1f30\u03bb\u03b5\u03af\u03b8\u03c5\u03b9\u03b1 bi\u00e7imini vermi\u015ftir.<\/p><p>\u0130ki farkl\u0131 etimoloji d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015ft\u00fcr. \u0130lki \u1f10\u03bb\u03b5\u03c5\u03b8- \/ eleuth- (\u1f10\u03bb\u03b5\u03cd\u03c3\u03bf\u03bc\u03b1\u03b9 \/ ele\u00fasomai&#8217;den, &#8220;gelmek, gitmek&#8221;) temas\u0131ndan yola \u00e7\u0131kar: Ilithyie &#8220;gelen&#8221; veya &#8220;gelmesini sa\u011flayan&#8221; olacakt\u0131r; ikincisi ise Helen \u00f6ncesi bir terim oldu\u011funa inan\u0131r.<\/p><p><a href=\"#_ftnref11\" name=\"_ftn11\">[11]<\/a><strong> \u00edl-l\u00e1: <\/strong>y\u00fckselme (&#8216;kald\u0131rmak&#8217; + &#8216;asmak&#8217;; kr\u015f., <strong>d\u00f9n-l\u00e1, &#8216;al\u00e7alma&#8217;<\/strong>)\u00a0 (A. Halloran, 1999, s. 105) Cilt 4 S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck:<strong> \u00edl-l\u00e1 <\/strong>= y\u00fckselme (&#8216;kald\u0131rmak&#8217; + &#8216;asmak&#8217;).<\/p><p><a href=\"#_ftnref12\" name=\"_ftn12\">[12]<\/a><strong> \u00edla, \u00edli, \u00edl: <\/strong>n., ta\u015f\u0131y\u0131c\u0131&#8230;, kald\u0131rmak, ta\u015f\u0131mak; teslim etmek; getirmek; dayanmak; desteklemek; ileriye ta\u015f\u0131mak (muhasebede); y\u00fcksek olmak; parlamak (mar\u00fb&#8217;da<strong> \u00edl-i) <\/strong>(A. Halloran, 1999, s. 105) Cilt 4 S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck: \u00edla,<strong> \u00edli, \u00edl <\/strong>= yal\u0131n hal: ta\u015f\u0131y\u0131c\u0131; fiil: kald\u0131rmak, ta\u015f\u0131mak, teslim etmek, getirmek, dayanmak, desteklemek, ileriye ta\u015f\u0131mak (muhasebede); y\u00fcksek olmak; parlamak (mar\u00fb&#8217;da<strong> \u00edl-i)<\/strong><\/p><p><a href=\"#_ftnref13\" name=\"_ftn13\">[13]<\/a><strong> lal, l\u00e1 <\/strong><strong>(<\/strong><strong>la2<\/strong>): v, y\u00fcksek olmak; tutmak; kald\u0131rmak; ta\u015f\u0131mak; asmak (-ta- ile); tartmak; \u00f6demek; \u00e7\u0131karmak; kay\u0131\u015flamak, ko\u015fumlamak (-\u0161i- ile); kendini giydirmek; yerle\u015ftirmek, ayarlamak; ba\u011flamak (bir kam\u0131\u015f s\u00fctun); germek, uzatmak, ula\u015fmak; y\u00fcklemek; azaltmak, az olmak, azaltmak; su\u00e7lamak, k\u0131namak; geri \u00e7ekilmek, geri \u00e7ekilmek (ayr\u0131ca bkz. l\u00e1) (\u00edla, &#8216;ta\u015f\u0131mak, desteklemek&#8217;). adj, hafif, eksik; eksi (ayr\u0131ca bkz. l\u00e1). (A.Halloran, 1999, s. 31) \/ Cilt 4 S\u00fcmerce-Frans\u0131zca s\u00f6zl\u00fck : <strong>lal, l\u00e1 (<\/strong><strong>la2<\/strong>) = y\u00fcksek olmak; tutmak, y\u00fckseltmek, ta\u015f\u0131mak, asmak (-ta- ile); tartmak, \u00f6demek; d\u00fc\u015fmek; ba\u011flamak, ba\u011flamak, ko\u015fumlamak (-\u0161i- ile); giydirmek; yerle\u015ftirmek; koymak; ba\u011flamak, ba\u011flamak (bir s\u00fctun, kam\u0131\u015f s\u00fctun); yaymak, uzatmak, birle\u015ftirmek; y\u00fcklemek; azaltmak; az olmak, azalmak; su\u00e7lamak, k\u0131namak; katlamak, geri \u00e7ekmek (ayr\u0131ca bkz. l\u00e1) (\u00edla&#8217;n\u0131n \u00e7o\u011falt\u0131lmas\u0131, &#8220;ta\u015f\u0131mak, desteklemek). S\u0131fatlar: hafif, eksik, eksi (ayr\u0131ca bkz. l\u00e1).<\/p><p><a href=\"#_ftnref14\" name=\"_ftn14\"><strong>[14]<\/strong><\/a> Bay MICHEL, &#8220;\u012al&#8221; ve &#8220;\u0112l&#8221; ile ilgili analizini bitirirken, hakl\u0131 olarak bu ismin b\u00fcy\u00fck olas\u0131l\u0131kla S\u00fcmer-Akkad k\u00f6kenli oldu\u011funa i\u015faret etmektedir:<\/p><p><strong>&#8220;\u012bl\/\u0113l teriminin k\u00f6keni binlerce y\u0131l i\u00e7inde kaybolmu\u015ftur, bu da <\/strong>onu bulmay\u0131 zorla\u015ft\u0131rmaktad\u0131r ve Semitik \u221a&#8217;WL, &#8220;&#8230;&#8221; k\u00f6k\u00fcn\u00fcn ondan t\u00fcretilmi\u015f olmas\u0131 olduk\u00e7a olas\u0131d\u0131r, tersi de\u011fil. \u00c7\u00fcnk\u00fc <strong>di\u011fer anlamlar\u0131n\u0131n yan\u0131 s\u0131ra &#8220;tanr\u0131&#8221; (ortak isim) ve ILLA (IL-LA) &#8220;y\u00fckseklik&#8221; anlamlar\u0131na sahip olan S\u00fcmerce \u012aLU&#8217;da paralelini veya ba\u015flang\u0131c\u0131n\u0131 buluyoruz. Dahas\u0131, hem fiil hem de isim olan S\u00fcmerce \u012aL ve \u012aL+ sesli harf(71) terimleri, <\/strong>di\u011fer <strong>anlamlar\u0131n\u0131n yan\u0131 s\u0131ra &#8220;ta\u015f\u0131mak, y\u00fckseltmek, kald\u0131rmak, bir kald\u0131ra\u00e7, bir y\u00fckseltme, bir kald\u0131rma arac\u0131<\/strong>&#8221; <strong>anlam\u0131na gelir. <\/strong><strong>Muhtemelen bir yandan Kuzey Sami dilinin geri kalan\u0131na aktar\u0131lan &#8220;tanr\u0131&#8221; anlam\u0131ndaki Akadca \u012b\/\u0113lu ve &lt;&#8216;la&gt; amorite teriminin, di\u011fer yandan da Akadca el\u00fb &#8220;y\u00fckseltmek&#8221; fiilinin k\u00f6kenini S\u00fcmercede aramal\u0131y\u0131z. <\/strong><\/p><p><a href=\"http:\/\/www.selefa.asso.fr\/files_pdf\/AcLETTRE_07-08_02.pdf\">http:\/\/www.selefa.asso.fr\/files_pdf\/AcLETTRE_07-08_02.pdf <\/a><\/p><p><a href=\"#_ftnref15\" name=\"_ftn15\">[15]<\/a> \u00e1kan, <strong>aka4 <\/strong>[K\u00c1]: kap\u0131 \u00e7er\u00e7evesi, lento. (A.Halloran, 1999, s. 50) ; Cilt 4 \/ S\u00fcmerce-Frans\u0131zca s\u00f6zl\u00fck \u00e1kan, <strong>aka4 <\/strong>[K\u00c1] = kap\u0131 \u00e7er\u00e7evesi; lento<\/p><p><a href=\"#_ftnref16\" name=\"_ftn16\">[16]<\/a><strong> a-ka <\/strong>= (bkz., \u00fagu) (A. Halloran, 1999, s. 72)<\/p><p><a href=\"#_ftnref17\" name=\"_ftn17\">[17]<\/a> Ugu4 [KU] = do\u011furmak, \u00fcremek, \u00fcretmek (kr\u015f., ugu4-bi). (A. Halloran, 1999, s. 18) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck: \u00fagu4 (KU) = do\u011furmak, <strong>\u00fcremek, \u00fcretmek <\/strong>(kr\u015f., ugu4- bi).<\/p><p>\u00f9gun,<strong> ugu4 <\/strong>=n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ., ata. v., do\u011furmak, do\u011furmak. adj., do\u011fal, genetik. (A. Halloran, 1999, s. 68) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca s\u00f6zl\u00fck: \u00f9gun,<strong> ugu4 <\/strong>= nominatif <strong>ata, ata <\/strong>\/ fiil: <strong>do\u011furmak, <\/strong>do\u011furmak. S\u0131fat: do\u011fal, <strong>genetik<\/strong>.<\/p><p><a href=\"#_ftnref18\" name=\"_ftn18\">[18]<\/a><strong> g\u00f9r, ga6 <\/strong>: ta\u015f\u0131mak, ta\u015f\u0131mak; dolu, y\u00fckl\u00fc, y\u00fckl\u00fc olmak (<strong>\u00edla <\/strong>i\u015fareti i\u00e7in Umma okunu\u015fu, kr\u015f., <strong>mir) <\/strong>(dairesel kap + <strong>er, <\/strong>&#8216;getirmek&#8217;; kr\u015f., <strong>gur, k\u00f9r, &#8216;<\/strong>sepet&#8217;) (A. Halloran, 1999, s. 41) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck:<strong> g\u00f9r, <\/strong><strong>ga6 <\/strong>= ta\u015f\u0131mak, nakletmek; dolu, y\u00fckl\u00fc olmak (&#8216;<strong>\u00edla<\/strong>&#8216; i\u015fareti i\u00e7in Umma okunu\u015fu, kr\u015f. <strong>mir<\/strong>) (dairesel kap + <strong>er<\/strong>, &#8216;getirmek&#8217; kr\u015f. <strong>gur, k\u00f9r<\/strong>, &#8216;sepet&#8217;).<\/p><p><a href=\"#_ftnref19\" name=\"_ftn19\">[19]<\/a><strong> \u0130lu <\/strong>asl\u0131nda tanr\u0131 anlam\u0131na gelen bir s\u00f6zc\u00fckt\u00fcr, ancak Akadca&#8217;d\u0131r. Tanr\u0131 i\u015fareti S\u00fcmerce&#8217;<strong>de <em>dingir, <\/em><\/strong>Akadca&#8217;<strong>da <em>ilu olarak <\/em><\/strong>okunur.<\/p><p><a href=\"#_ftnref20\" name=\"_ftn20\">[20]<\/a><strong> di\u00f1ir, dingir <\/strong>: tanr\u0131, ilah; ilahi varl\u0131klar i\u00e7in belirleyici (<strong>di, <\/strong>&#8216;karar&#8217;, + \u00f1ar<strong>, &#8216;<\/strong>teslim etmek&#8217;). (Halloran, s. 53) Tome 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck: <strong>di\u00f1ir, dingir<\/strong>: tanr\u0131, ilah; tanr\u0131sal varl\u0131klar i\u00e7in belirleyici (<strong>di, <\/strong>&#8216;karar&#8217;, +<strong> \u00f1ar, &#8216;teslim etmek&#8217;<\/strong>)<\/p><p><a href=\"#_ftnref21\" name=\"_ftn21\">[21]<\/a><strong> illu<\/strong>: y\u00fcksek su, sel; (amniyotik) s\u0131v\u0131; re\u00e7ine. (Halloran, s. 19) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck&#8217;teki \u00e7evirisiyle: <strong>illu <\/strong>= y\u00fcksek su, sel; amniyotik s\u0131v\u0131; re\u00e7ine.<\/p><p><a href=\"#_ftnref22\" name=\"_ftn22\">[22]<\/a><strong> a, <\/strong><strong>e4 <\/strong>= isim. su; su yolu, kanal; seminal s\u0131v\u0131; yavru; <strong>baba; <\/strong>g\u00f6zya\u015f\u0131; sel (A.Halloran, 1999, s. 3) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck&#8217;teki \u00e7evirisiyle: <strong>a<\/strong><strong>, <\/strong><strong>e4 <\/strong>= nominatif = su, su yolu, kanal, seminal s\u0131v\u0131, yavru, <strong>baba, <\/strong>g\u00f6zya\u015f\u0131, sel.\u00a0<\/p><p><a href=\"#_ftnref23\" name=\"_ftn23\">[23]<\/a><strong> nab<\/strong>: okyanus; m\u00fczisyen; &#8216;tanr\u0131&#8217; i\u00e7in Elamca s\u00f6zc\u00fck (<strong>n\u00ed, &#8216;<\/strong>korku, sayg\u0131&#8217;, + <strong>aba, ab<\/strong>, &#8216;g\u00f6l, deniz&#8217;) (Halloran, s. 22) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck&#8217;teki \u00e7evirisiyle: <strong>nab <\/strong>= okyanus, m\u00fczisyen. Tanr\u0131 i\u00e7in kullan\u0131lan Elamca s\u00f6zc\u00fck (<strong>n\u00ed, <\/strong>&#8216;korku, sayg\u0131&#8217; <strong>+ aba, ab <\/strong>&#8216;g\u00f6l, deniz&#8217;)<\/p><p><a href=\"#_ftnref24\" name=\"_ftn24\">[24]<\/a><strong> a-ab-ba <\/strong>= (bkz., <strong>aba<\/strong>) (A. Halloran, 1999, s. 71)<strong> aba, ab <\/strong>= g\u00f6l; deniz (A.Halloran, 1999, s. 18) ; Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck = <strong>aba, ab <\/strong>= g\u00f6l, deniz<\/p><p><a href=\"#_ftnref25\" name=\"_ftn25\">[25]<\/a><strong> ab-ba <\/strong>= baba; ya\u015fl\u0131; ata (Akk. al\u0131nt\u0131 s\u00f6zc\u00fck) (A. Halloran, 1999, s. 76) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck = <strong>ab-ba = <\/strong>baba; ya\u015fl\u0131; ata (Akadca al\u0131nt\u0131 s\u00f6zc\u00fck)<\/p><p><a href=\"#_ftnref26\" name=\"_ftn26\">[26]<\/a> Bu, elbette, Aramice Sami dilindeki<a href=\"https:\/\/fr.wiktionary.org\/w\/index.php?title=%DC%90%DC%92%DC%90&amp;action=edit&amp;redlink=1\"> <strong>\u05d0\u05d1\u05d0<\/strong><strong>\/<\/strong><strong>\u0710\u0712\u0710<\/strong><\/a><strong> \u02bcabb\u0101\u02bc <\/strong>(&#8220;baba&#8221;) kelimesinin kar\u015f\u0131l\u0131\u011f\u0131d\u0131r ve daha sonra Eski Yunanca \u1f00\u03b2\u03b2<a href=\"https:\/\/fr.wiktionary.org\/w\/index.php?title=%E1%BC%80%CE%B2%CE%B2%E1%BE%B6&amp;action=edit&amp;redlink=1\"><strong>\u1fb6<\/strong><strong>,<\/strong><\/a> abba baba, aile reisi, ata, ba\u015fkan kelimelerinden t\u00fcretilecektir.<\/p><p><a href=\"#_ftnref27\" name=\"_ftn27\">[27]<\/a><strong> te, <\/strong><strong>de4<\/strong><strong>; ti <\/strong>: v., yakla\u015fmak, kar\u015f\u0131la\u015fmak (birisi: datif); sald\u0131rmak, h\u00fccum etmek; korkmak (alternatif s\u0131n\u0131f, hamtu k\u00f6k; kr\u015f., te-\u00f1e26) (A. Halloran, 1999, s. 17) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck <strong>te,<\/strong><strong> de4<\/strong><strong>\u00a0, ti <\/strong>= Fiiller: yakla\u015fmak, bulu\u015fmak (birisi: datif); sald\u0131rmak, h\u00fccum etmek; korkmak.<\/p><p><a href=\"#_ftnref28\" name=\"_ftn28\">[28]<\/a><strong> ti <\/strong>: yan, kaburga; ok (kr\u015f., <strong>te, di\u0125 <\/strong>ve <strong>t\u00ecl<\/strong>) (A. Halloran, 1999, s. 17) \/ Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck <strong>ti <\/strong>= yan, kaburga, ok (bkz., <strong>te, di\u0125 <\/strong>ve <strong>t\u00ecl<\/strong>) .<\/p><p><a href=\"#_ftnref29\" name=\"_ftn29\">[29]<\/a><strong> te-me-en<\/strong>; <strong>te-me<\/strong>: (cf., <strong>temen<\/strong>) (Halloran, s. 148)<strong> temen <\/strong>[<strong>TE<\/strong>]: \u00e7evre; vak\u0131flar; vak\u0131f \u015fartnamesi; vak\u0131f platformu; yerdeki bir \u015fekil<\/p><p>mandallar aras\u0131na gerilmi\u015f iplerden yap\u0131lm\u0131\u015f; kaz\u0131 (genellikle te-me-en yaz\u0131l\u0131r) (Halloran, s. 68) \/ Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck: <strong>temen[te] ya <\/strong>da <strong>te-me-en <\/strong>ya da <strong>te-me <\/strong>= \u00e7evre, temeller, kurucu t\u00fcz\u00fck, temel platformu, kaz\u0131klar ya da tahta kaz\u0131klar aras\u0131na gerilmi\u015f yerde bir \u015fekil. Bir kaz\u0131 (bazen <strong>te-me-en olarak <\/strong>yaz\u0131l\u0131r).<\/p><p><a href=\"#_ftnref30\" name=\"_ftn30\">[30]<\/a><strong> e\u0161 : <\/strong>n., bir\u00e7ok, \u00e7ok.v., ya\u011flamak; <strong>\u00e8\u0161 <\/strong>: tap\u0131nak (Halloran, s. 8) \/ Cilt 4 S\u00fcmerce-Frans\u0131zca s\u00f6zl\u00fck: <strong>e\u0161 <\/strong>= isimler: \u00e7ok \/ fiiller: ya\u011flamak (ya\u011f ile); <strong>e\u0161<\/strong>: tap\u0131nak.<\/p><p><a href=\"#_ftnref31\" name=\"_ftn31\">[31]<\/a><strong>\u00f9nug , <\/strong><strong>unu6 [TEMEN.\u00c8\u0160 = TE.AB<\/strong>] : y\u00fckseltilmi\u015f tap\u0131nak, mabet; oturma odas\u0131; kutsal alan \u00a0(Halloran, s. 67). Cilt 4 \/ S\u00fcmerce-Frans\u0131zca s\u00f6zl\u00fck: \u00f9nug<strong>, <\/strong><strong>unu6 [TEMEN.\u00c8\u0160 = TE.AB<\/strong>] = y\u00fckseltilmi\u015f mabet, tap\u0131nak; oturma odas\u0131; kutsal alan.<\/p><p><a href=\"#_ftnref32\" name=\"_ftn32\">[32]<\/a> Temenos Eski Yunanca \u03c4\u1f78 <strong>\u03c4\u03ad\u03bc\u03b5\u03bd\u03bf\u03c2 \/ t\u00f2 t\u00e9menos<\/strong>. Wk.<\/p><p><a href=\"#_ftnref33\" name=\"_ftn33\">[33]<\/a> Klasik Yunan&#8217;da t\u00e9m\u00e9nos, \u00e7e\u015fitli \u015fekillerde (direkler, \u00e7it, duvar, portiko) olabilen peribolus ad\u0131 verilen bir muhafaza ile s\u0131n\u0131rland\u0131r\u0131ld\u0131\u011f\u0131nda, bir <strong>kutsal<\/strong> alan\u0131 olu\u015fturan &#8220;&#8230;&#8221; kutsal alan\u0131 ifade eder.<\/p><p>Buna ek olarak, bu kelime eski k\u00fclt\u00fcrlerde, \u00f6rne\u011fin <strong>M\u0131s\u0131r <\/strong>veya Etr\u00fcsk <strong>tap\u0131naklar\u0131nda <\/strong>kutsal bir alan\u0131 belirtmek i\u00e7in kullan\u0131l\u0131r. Wk.<\/p><p><a href=\"#_ftnref34\" name=\"_ftn34\">[34]<\/a><strong> aka, ak, ag, <\/strong><strong>a5 <\/strong>= yapmak, hareket etmek; yerle\u015ftirmek; (bir \u015fey) haline getirmek (-si- ile) (A. Halloran, 1999, s. 18) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck&#8217;teki \u00e7evirisiyle: <strong>aka, ak, ag, <\/strong><strong>a5 <\/strong>= yapmak, hareket etmek; yerle\u015ftirmek; (bir \u015fey) haline getirmek (-si- ile)<\/p><p><a href=\"#_ftnref35\" name=\"_ftn35\">[35]<\/a><strong> ti <\/strong>: yan, kaburga; ok (kr\u015f., <strong>te, di\u0125 <\/strong>ve <strong>t\u00ecl<\/strong>) (A. Halloran, 1999, s. 17) \/ Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck: <strong>ti <\/strong>= yan, kaburga, ok (kr\u015f., <strong>te, di\u0125 <\/strong>ve <strong>t\u00ecl<\/strong>).<\/p><p><a href=\"#_ftnref36\" name=\"_ftn36\">[36]<\/a><strong> tum <\/strong>: i\u015f, eylem ; \u00e7apraz kiri\u015f ; ok sada\u011f\u0131 (A. Halloran, 1999, s. 36) \/ Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck: <strong>tum<\/strong>: i\u015f, eylem; revak ya da \u00e7apraz kiri\u015f ve\/veya iki \u00e7apraz kiri\u015ften olu\u015fan \u00e7apraz bi\u00e7imli bir yap\u0131; sadak.<\/p><p><a href=\"#_ftnref37\" name=\"_ftn37\">[37]<\/a> Larousse, Fenike mitolojisini ve daha spesifik olarak Ba&#8217;alat&#8217;\u0131 analiz ederken \u015funlar\u0131 s\u00f6yler:<\/p><p>Byblos&#8217;un ana tanr\u0131s\u0131 bir tanr\u0131\u00e7ad\u0131r. Muhtemelen zaten Ba&#8217;alat, yani Byblos&#8217;un Han\u0131m\u0131 unvan\u0131yla biliniyordu. Byblos&#8217;ta, ad\u0131 bize ula\u015fmayan bir prens i\u00e7in kaz\u0131nm\u0131\u015f bir silindir m\u00fch\u00fcrde, oturur vaziyette, ask\u0131l\u0131 dar bir elbise giymi\u015f, sa\u00e7lar\u0131 M\u0131s\u0131r tarz\u0131nda yap\u0131lm\u0131\u015f, ba\u015f\u0131 iki boynuz aras\u0131nda bir diskle ta\u00e7land\u0131r\u0131lm\u0131\u015f olarak tasvir edilmi\u015ftir: <u>b\u00f6ylece <\/u>Nil k\u0131y\u0131lar\u0131nda onurland\u0131r\u0131lan <u>tanr\u0131\u00e7a Hathor&#8217;a benzemektedir.<\/u><\/p><p>Renan taraf\u0131ndan ke\u015ffedilen ve Louvre&#8217;da muhafaza edilen bir M\u0131s\u0131r kabartmas\u0131nda Hathor bir firavunu kar\u015f\u0131larken ve kucaklarken resmedilmi\u015ftir; y\u00fcz\u00fcn\u00fcn \u00fczerindeki boynuzlardan birinden bir uraeus sarkmakta ve ba\u015f\u0131n\u0131 kral\u0131n aln\u0131n\u0131 s\u00fcsleyen uraeus&#8217;unkine do\u011fru sallamaktad\u0131r. 12. Firavun Hanedanl\u0131\u011f\u0131 d\u00f6neminden itibaren Byblos ile M\u0131s\u0131r aras\u0131ndaki ili\u015fki \u00f6yle bir hal alm\u0131\u015ft\u0131r ki <u>Byblos&#8217;un <\/u>Han\u0131m\u0131 <u>kesin olarak Hathor ile \u00f6zde\u015fle\u015ftirilmi\u015ftir<\/u>. &#8220;Yehawmelek stelinde, Akamenid \u0130mparatorlu\u011fu zaman\u0131nda, Byblos Leydisi, <u>Ptolemaios tanr\u0131\u00e7as\u0131 Hathor gibi tepesinde bir havan bulunan bir akbaba ba\u015fl\u0131\u011f\u0131 giyer<\/u>. (F.GUIRAND, 1996, s. 100)<\/p><p><a href=\"#_ftnref38\" name=\"_ftn38\">[38]<\/a><strong> te8 <\/strong><strong>[\u00c1<\/strong>] mu\u0161en = sakall\u0131 akbaba. Cilt 4 Frans\u0131zca-S\u00fcmerce s\u00f6zl\u00fck: <strong>te8 <\/strong><strong>[\u00c1] <\/strong>mu\u0161en = sakall\u0131 akbaba.<\/p><p>Burada &#8220;mu\u0161en&#8221;, &#8220;ku\u015f&#8221; i\u00e7in kullan\u0131lan genel bir s\u00f6zc\u00fckt\u00fcr.<\/p><p>&#8220;Vautour&#8221; bu nedenle &#8220;<strong>te8 &#8220;dir ve <\/strong>ideografik kar\u015f\u0131l\u0131\u011f\u0131 parantez i\u00e7inde belirtilmi\u015ftir:<strong> \u00c1 <\/strong>veya <strong>\u00e0 <\/strong><\/p><p><a href=\"#_ftnref39\" name=\"_ftn39\">[39]<\/a><strong> te8 [\u00c1<\/strong>] mu\u0161en = sakall\u0131 akbaba. Cilt 4 Frans\u0131zca-S\u00fcmerce s\u00f6zl\u00fck: <strong>te8 [\u00c1] <\/strong>mu\u0161en = sakall\u0131 akbaba.<\/p><p>Burada &#8220;mu\u0161en&#8221;, &#8220;ku\u015f&#8221; i\u00e7in kullan\u0131lan genel bir s\u00f6zc\u00fckt\u00fcr.<\/p><p>&#8220;Vautour&#8221; bu nedenle &#8220;<strong>te8 &#8220;<\/strong>dir ve ideografik kar\u015f\u0131l\u0131\u011f\u0131 parantez i\u00e7inde belirtilmi\u015ftir:<strong> \u00c1 <\/strong>veya <strong>\u00e0 <\/strong><\/p><p><a href=\"#_ftnref40\" name=\"_ftn40\">[40]<\/a><strong>\u00e1\u0125i , <\/strong><strong>a\u01255<\/strong><strong>,<\/strong><strong> \u00e1 <\/strong>: kol; kanat; boynuz; yan; g\u00fc\u00e7; i\u015f performans\u0131; \u00fccretler; an (A.Halloran, 1999, s. 18) ; Cilt 4 \/ S\u00fcmerce-Frans\u0131zca s\u00f6zl\u00fck: \u00e1\u0125i<strong>, <\/strong><strong>a\u01255<\/strong><strong>,<\/strong><strong> \u00e1 <\/strong>= kol, kanat, boynuz, yan, g\u00fc\u00e7; i\u015f performans\u0131; \u00fccretler; an<\/p><p><a href=\"#_ftnref41\" name=\"_ftn41\">[41]<\/a> &#8221; k\u0131y\u0131 sembolizmi&#8221; b\u00f6l\u00fcm\u00fcne bak\u0131n\u0131z.<\/p><p><a href=\"#_ftnref42\" name=\"_ftn42\">[42]<\/a> Cf Cilt 4 \/ Hiyeroglif-Frans\u0131zca s\u00f6zl\u00fck: <strong>A <\/strong>= <img decoding=\"async\" class=\"alignnone size-full wp-image-13993\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image5.png\" alt=\"\" width=\"30\" height=\"30\" \/>Vautour \/ (Faulkner, reed.2017, s. 1)<\/p><p><a href=\"#_ftnref43\" name=\"_ftn43\">[43]<\/a><strong> t\u00e8 <\/strong>: alkali bir bitki (?); \u00e7\u00f6ven otu (?); kakule (bkz., <strong>na\u00f1a<\/strong>) (Halloran, s. 17). Cf Volume 4 Frans\u0131zca-S\u00fcmerce s\u00f6zl\u00fck: <strong>t\u00e8 <\/strong>= alkali bir bitki (?); \u00e7\u00f6ven otu; kakule (kr\u015f., <strong>na\u00f1a<\/strong>).<\/p><p><a href=\"#_ftnref44\" name=\"_ftn44\">[44]<\/a><strong>na\u00f1a\u00a0 : [\u00f1i\u0161]na\u00f1a3<\/strong><strong>,4 <\/strong><strong>na\u00f1 [gaz, kum<\/strong>]: ezmek; (yal\u0131n hali -a ile) havaneli; soda, alkali, potas (sabun olarak kullan\u0131l\u0131r); alkali bir bitki; sabun otu (<strong>na\u00f1, <\/strong>&#8216;i\u00e7mek&#8217;, + <strong>a, &#8216;<\/strong>su&#8217;) (Halloran, s. 28) \/ Cf Volume 4 French-Sumerian Lexicon in <strong>na\u00f1a<\/strong>: [\u00f1i\u0161<strong>]na\u00f1a, na\u00f1 [gaz, kum<\/strong>] = ezmek \/ na\u00f1a = soda, alkali, potas (sabun olarak kullan\u0131l\u0131r); alkali bir bitki; sabun otu (<strong>na\u00f1, &#8216;<\/strong>i\u00e7mek&#8217; + <strong>a, &#8216;su&#8217;<\/strong>)<\/p><p><a href=\"#_ftnref45\" name=\"_ftn45\">[45]<\/a><strong> ni\u00f1in2 <\/strong>: n., muhafaza, daire; kapasite; b\u00fct\u00fcn (kr\u015f., <strong>kilib <\/strong>ve <strong>gur4-gur4<\/strong>) v., durmak, geri d\u00f6nmek; d\u00f6nmek; ku\u015fatmak; toplamak; s\u0131\u011f\u0131rlar\u0131 a\u011f\u0131la almak; dola\u015fmak; daire \u00e7izmek; tur atmak (genellikle hamtu bi\u00e7imi i\u00e7in <strong>n\u00ed\u00f1in <\/strong>[<strong>LAGAB<\/strong>] ve mar\u00fb bi\u00e7imi i\u00e7in <strong>ni\u00f1in <\/strong>veya <strong>ni10-ni10 <\/strong>[<strong>lagab-lagab]<\/strong>) (<strong>n\u00ed <\/strong>; <strong>ne4, <\/strong>&#8216;korku&#8217;<strong>,<\/strong> + \u00f1in, &#8216;gitmek&#8217;) \/ Cf Volume 4 Lexique fran\u00e7ais-sum\u00e9rien : <strong>ni\u00f1in2 <\/strong>= bir muhafaza, bir daire; bir kapasite; b\u00fct\u00fcnl\u00fck (bkz. <strong>kilib <\/strong>ve <strong>gur4-gur4<\/strong>). Fiiller: durmak, durdurmak, sona erdirmek; geri \u00e7evirmek, reddetmek, geri \u00e7evirmek; etraf\u0131n\u0131 sarmak; toplamak; bir s\u00fcr\u00fcy\u00fc kaleme almak; dola\u015fmak veya dola\u015fmak; \u00e7evrelemek veya d\u00f6nd\u00fcrmek; dola\u015fmak (genellikle hamtu bi\u00e7imi i\u00e7in <strong>n\u00ed\u00f1in <\/strong>[<strong>LAGAB] ve <\/strong>mar\u00fb bi\u00e7imi i\u00e7in <strong>ni\u00f1in <\/strong>veya <strong>ni10- ni10 <\/strong>[LAGAB<strong>.LAGAB<\/strong>]) <strong>(n\u00ed<\/strong>; <strong>ne4, <\/strong>&#8220;korku&#8221; +<strong> \u00f1in, <\/strong>&#8220;gitmek&#8221;).(A. Halloran, 1999, s. 63)<\/p><p><strong>ni\u00f1in5<\/strong><strong>,7,8,9 <\/strong>(veya <strong>nimen3,<\/strong><strong>4,5 <\/strong>veya <strong>na\u00f1a<\/strong>): il\u00e7e, il. (A. Halloran, 1999, s. 63)<\/p><p><a href=\"#_ftnref46\" name=\"_ftn46\">[46]<\/a><strong> a, <\/strong><strong>e4 <\/strong>= isim. su; su yolu, kanal; seminal s\u0131v\u0131; yavru; <strong>baba; <\/strong>g\u00f6zya\u015f\u0131; sel (A.Halloran, 1999, s. 3) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck&#8217;teki \u00e7evirisiyle: <strong>a<\/strong><strong>, <\/strong><strong>e4 <\/strong>= nominatif = su, su yolu, kanal, seminal s\u0131v\u0131, yavru, <strong>baba, <\/strong>g\u00f6zya\u015f\u0131, sel.\u00a0<\/p><p><strong>a-a <\/strong>: baba (A. Halloran, 1999, s. 71) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca hece : <strong>a-a <\/strong>: baba<\/p><p><a href=\"#_ftnref47\" name=\"_ftn47\">[47]<\/a><strong> \u00f9nug, <\/strong><strong>unu6 <\/strong><strong>[TEMEN.\u00c8\u0160 = TE.AB<\/strong>] : y\u00fckseltilmi\u015f tap\u0131nak, mabet; oturma odas\u0131; kutsal alan \u00a0(Halloran, s. 67). Cilt 4 \/ S\u00fcmerce-Frans\u0131zca s\u00f6zl\u00fck: \u00f9nug<strong>, <\/strong><strong>unu6 <\/strong><strong>[TEMEN.\u00c8\u0160 = TE.AB<\/strong>] = y\u00fckseltilmi\u015f mabet, tap\u0131nak; oturma odas\u0131; kutsal alan.<\/p><p><a href=\"#_ftnref48\" name=\"_ftn48\">[48]<\/a> Temenos Eski Yunanca \u03c4\u1f78 <strong>\u03c4\u03ad\u03bc\u03b5\u03bd\u03bf\u03c2<\/strong><strong> \/ t\u00f2 t\u00e9menos<\/strong>. Wk.<\/p><p><a href=\"#_ftnref49\" name=\"_ftn49\">[49]<\/a> Klasik Yunan&#8217;da t\u00e9m\u00e9nos, \u00e7e\u015fitli \u015fekillerde (direkler, \u00e7it, duvar, portiko) olabilen peribolus ad\u0131 verilen bir muhafaza ile s\u0131n\u0131rland\u0131r\u0131ld\u0131\u011f\u0131nda, bir <strong>kutsal<\/strong> alan\u0131 olu\u015fturan &#8220;&#8230;&#8221; kutsal alan\u0131 ifade eder.<\/p><p>Buna ek olarak, bu kelime eski k\u00fclt\u00fcrlerde, \u00f6rne\u011fin <strong>M\u0131s\u0131r <\/strong>veya Etr\u00fcsk <strong>tap\u0131naklar\u0131nda <\/strong>kutsal bir alan\u0131 belirtmek i\u00e7in kullan\u0131l\u0131r. Wk.<\/p><p><a href=\"#_ftnref50\" name=\"_ftn50\">[50]<\/a><strong> bkAt<\/strong> <img decoding=\"async\" class=\"alignnone size-full wp-image-14012\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image6.png\" alt=\"\" width=\"30\" height=\"17\" \/> hamile kad\u0131n (Faulkner, yeniden bas\u0131m 2017, s. 105)<\/p><p><a href=\"#_ftnref51\" name=\"_ftn51\">[51]<\/a><strong> bkyt bAkAyt<\/strong> <img decoding=\"async\" class=\"alignnone size-full wp-image-14032\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image7.png\" alt=\"\" width=\"42\" height=\"16\" \/> muhafaza (tap\u0131nak temelleri ve zemini) (Faulkner, reed.2017, s. 105)<\/p><p><a href=\"#_ftnref52\" name=\"_ftn52\">[52]<\/a><strong> A, Ay, y <\/strong>s\u00f6zc\u00fckleri ile\u00a0 e\u015fde\u011ferlik \u00f6rne\u011fi :<\/p><p><strong>fAyt<\/strong> <img decoding=\"async\" class=\"alignnone size-full wp-image-14022\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image9.png\" alt=\"\" width=\"48\" height=\"22\" \/> <strong> fAt<\/strong> <img decoding=\"async\" class=\"alignnone size-full wp-image-14042\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image10.png\" alt=\"\" width=\"40\" height=\"22\" \/> y\u00fck, kargo; \u00fccret (\u015fek.); maddi kar, gelir <strong>fAyt<\/strong> <img decoding=\"async\" class=\"alignnone size-full wp-image-14052\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image11.png\" alt=\"\" width=\"77\" height=\"23\" \/><strong>\u00a0fyt<\/strong> <img decoding=\"async\" class=\"alignnone size-full wp-image-14062\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image12.png\" alt=\"\" width=\"33\" height=\"19\" \/> ta\u015f\u0131nabilir \u015fapel (Faulkner, re-ed.2017, s. 121)<\/p><p><strong>wgiw<\/strong> <img decoding=\"async\" class=\"alignnone size-full wp-image-14072\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image13.png\" alt=\"\" width=\"36\" height=\"17\" \/> membrure <strong>wgAw<\/strong> <img decoding=\"async\" class=\"alignnone size-full wp-image-14082\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image14.png\" alt=\"\" width=\"46\" height=\"19\" \/><strong> wgAyw <img decoding=\"async\" class=\"alignnone size-full wp-image-14092\" src=\"https:\/\/www.yvar-bregeant.com\/wp-content\/uploads\/2024\/01\/Image15.png\" alt=\"\" width=\"67\" height=\"17\" \/><\/strong> (Faulkner, re-ed.2017, s. 87)<\/p><p><a href=\"#_ftnref53\" name=\"_ftn53\">[53]<\/a> Frans\u0131zcada &#8220;enceinte&#8221; terimi potansiyel olarak hem hamile bir kad\u0131n\u0131 hem de bir \u00e7it anlam\u0131nda bir \u00e7iti ifade etti\u011finden, bu \u00e7ifte anlam Frans\u0131zca konu\u015fanlar i\u00e7in daha az s\u00fcrpriz olacakt\u0131r. Ancak kutsal boyut, yani tap\u0131nak, genel bir pop\u00fcler anlam\u0131 olan bu \u00e7ifte Frans\u0131zca anlamda yoktur. \u00d6te yandan, tap\u0131nakla ilgili kutsal boyut, hiyeroglif anlam\u0131n \u00f6nceli\u011fidir.<\/p><p><a href=\"#_ftnref54\" name=\"_ftn54\"><strong>[54]<\/strong><\/a> Lajj\u00e2 Gaur\u00ee (\u0932\u091c\u094d\u091c\u093e \u0917\u094c\u0930\u0940) bolluk ve bereketle ili\u015fkilendirilen bir Hindu tanr\u0131\u00e7as\u0131d\u0131r ve \u00fcst\u00fc kapal\u0131 bir \u015fekilde &#8220;m\u00fctevaz\u0131, utan\u00e7 verici&#8221; (Lajja) olarak tan\u0131mlanm\u0131\u015ft\u0131r. Temsili Baubo&#8217;yu an\u0131msatmaktad\u0131r. Bu kadim Ana Tanr\u0131\u00e7a \u00e7\u0131plak ve bacaklar\u0131 bir M harfi olu\u015fturacak \u015fekilde a\u00e7\u0131lm\u0131\u015f olarak tasvir edilmi\u015ftir.<\/p><p>&#8220;Lajja Gauri&#8217;nin Shakta k\u00fclt\u00fcndeki ilk temsilleri \u0130ndus vadisinde bulunmu\u015ftur, bu da onun \u00e7ok eski oldu\u011funu ve k\u00fclt\u00fcn\u00fcn daha sonra \u00f6zellikle Deccan&#8217;da yay\u0131ld\u0131\u011f\u0131n\u0131 do\u011frulamaktad\u0131r. Ancak k\u00fclt\u00fc neredeyse ortadan kalkm\u0131\u015f, modern Hindistan&#8217;da art\u0131k mevcut de\u011fildir ve bu &#8220;a\u00e7\u0131k&#8221; ve cinsel olarak tatmin olmu\u015f tanr\u0131\u00e7ay\u0131 endogamik kurallara bir tehdit olarak g\u00f6ren Hint burjuvazisi ve Hindu milliyet\u00e7ileri taraf\u0131ndan tamamen reddedilmektedir.<\/p><p>&#8220;Lajja Gauri \u00e7o\u011funlukla ba\u015f\u0131 lotus \u00e7i\u00e7e\u011fi \u015feklinde (al\u00e7akg\u00f6n\u00fcll\u00fcl\u00fc\u011f\u00fcn bir i\u015fareti olarak) ve bacaklar\u0131n\u0131 a\u00e7m\u0131\u015f, vulvas\u0131n\u0131 veya yonisini ortaya \u00e7\u0131karm\u0131\u015f olarak temsil edilir. Bu temsil ya d\u00fcnyan\u0131n do\u011fu\u015funu (Lajja Gauri o zaman anne Do\u011fa, Prakriti&#8217;dir) ya da bedeninin sunulu\u015funu simgeler&#8221;.<\/p><p>Aditi Uttanapada (Lajja Gauri): <strong>Creatrix and Regenerator <\/strong>[ar\u015fiv] Hint Tanr\u0131\u00e7alar\u0131n\u0131n \u0130mgeleri: Mitler, Anlamlar ve Modeller, Madhu Bazaz Wangu. Abhinav Yay\u0131nlar\u0131 taraf\u0131ndan yay\u0131nlanm\u0131\u015ft\u0131r, 2003. (ISBN 81-7017-416-3). Sayfa 84-86.<\/p><p><a href=\"#_ftnref55\" name=\"_ftn55\">[55]<\/a> Cf Volume 4 \/ Sumerian-French Lexicon:<strong> \u0161\u00e0 <\/strong>= (cf.,<strong> \u0161ag5<\/strong>) -)<strong> \u0161ag4,<\/strong><strong>\u00a0\u0161\u00e0 <\/strong>= isimler: ba\u011f\u0131rsaklar, kalp, mide, kar\u0131n, ba\u011f\u0131rsaklar, rahim, v\u00fccut, i\u00e7, orta, i\u00e7, nehir yata\u011f\u0131, irade, ruh hali, anlam veya anlam (tah\u0131l \/ ekstre + su \/ idrar + i\u00e7i bo\u015f kap) dayal\u0131 :<\/p><p><strong>\u0161ag4<\/strong><strong>, \u0161\u00e0 <\/strong>= n., ba\u011f\u0131rsaklar; ba\u011f\u0131rsak; kalp; mide; kar\u0131n; ba\u011f\u0131rsaklar; i\u00e7erik; rahim; v\u00fccut; i\u00e7, orta, i\u00e7; bir nehrin yata\u011f\u0131; irade, irade; ruh hali; anlam, \u00f6nem (tah\u0131l \/ salg\u0131 + su \/ idrar + oda). (Halloran, s. 27)<\/p><p><a href=\"#_ftnref56\" name=\"_ftn56\">[56]<\/a><strong> sa6 <\/strong>= bkz. <strong>sag9 <\/strong>(A.Halloran, 1999, s. 14)<strong> = sag9<\/strong><strong>,<\/strong><strong> \u0161ag5, sig6<\/strong><strong>, <\/strong><strong>sa6, \u0161a6 <\/strong>= n., iyi talih; (ilahi) l\u00fctuf, iyilik. v., iyi olmak \/ iyi yapmak; memnun etmek, tatmin etmek; dost olmak. adj., tatl\u0131, iyi, ho\u015f; g\u00fczel; verimli (<strong>sa7, <\/strong>&#8216;iyi bi\u00e7imli&#8217; + <strong>ge2<\/strong><strong>,6 &#8216;<\/strong>k\u0131z&#8217;). (A.Halloran, 1999, s. 26)<strong> sa6 <\/strong><strong>= <\/strong>bkz. <strong>sag9 <\/strong><strong>= sag9<\/strong><strong>,<\/strong><strong> \u0161ag5<\/strong><strong>, <\/strong><strong>sig6, sa6, \u0161a6 = <\/strong>isimler = iyi talih, ilahi l\u00fctuf, iyilik \/ atas\u00f6zleri mutlu etmek, memnun etmek, tatmin etmek, dost olmak \/ s\u0131fatlar: tatl\u0131, iyi, ho\u015f, g\u00fczel, verimli (<strong>sa7, <\/strong>&#8216;iyi bi\u00e7imli&#8217; + <strong>ge2<\/strong><strong>,6 <\/strong>&#8216;k\u0131z&#8217;).<\/p><p><a href=\"#_ftnref57\" name=\"_ftn57\">[57]<\/a><strong> a-ka <\/strong>= (bkz., \u00fagu) (A. Halloran, 1999, s. 72)<\/p><p><a href=\"#_ftnref58\" name=\"_ftn58\">[58]<\/a> Ugu4 [KU] = do\u011furmak, \u00fcremek, \u00fcretmek (kr\u015f., ugu4-bi). (A. Halloran, 1999, s. 18) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck: \u00fagu4 (KU) = do\u011furmak, <strong>\u00fcremek, \u00fcretmek <\/strong>(kr\u015f., ugu4- bi).<\/p><p>\u00f9gun,<strong> ugu4 <\/strong>=n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ., ata. v., do\u011furmak, do\u011furmak. adj., do\u011fal, genetik. (A. Halloran, 1999, s. 68) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca s\u00f6zl\u00fck: <strong>\u00f9gun<\/strong>,<strong> ugu4 <\/strong>= nominatif <strong>ata, ata <\/strong>\/ fiil: <strong>do\u011furmak, <\/strong>do\u011furmak. S\u0131fat: do\u011fal, <strong>genetik<\/strong>.<\/p><p><a href=\"#_ftnref59\" name=\"_ftn59\">[59]<\/a><a href=\"https:\/\/fr.wikisource.org\/wiki\/Dictionnaire_classique_sanscrit-fran\u00e7ais\/\u0905\">https:\/\/fr.wikisource.org\/wiki\/Dictionnaire_classique_sanscrit-fran\u00e7ais\/\u0905<\/a><\/p><p><a href=\"https:\/\/sanskrit.inria.fr\/Heritage.pdf\">https:\/\/sanskrit.inria.fr\/Heritage.pdf<\/a><\/p><p><a href=\"#_ftnref60\" name=\"_ftn60\">[60]<\/a><strong> m\u00ed <\/strong>[<strong>SAL<\/strong>]: n., kad\u0131n; di\u015fi (i\u015faretin bu telaffuzu bile\u015fik s\u00f6zc\u00fcklerde ve fiillerde ya da enklitik veya proklitik konumda bulunur, Hallo &amp; van Dijk, s. 85) (ayr\u0131ca bkz., <strong>mu10<\/strong>, <strong>munus) <\/strong>(bile\u015fiklerin daha eski bir s\u00f6zc\u00fc\u011f\u00fc koruma olas\u0131l\u0131\u011f\u0131 daha y\u00fcksektir) ; adj., di\u015fil. (A.Halloran, 1999, s. 13)Cf. 4. Cilt \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck: <strong>m\u00ed <\/strong>[<strong>SAL]<\/strong>: = kad\u0131n; di\u015fi (ayr\u0131ca bkz. <strong>mu10<\/strong>, <strong>munus<\/strong>). Di\u015fil s\u0131fat<\/p><p><a href=\"#_ftnref61\" name=\"_ftn61\">[61]<\/a><strong> mi <\/strong>= <strong>mi<\/strong>: (cf., <strong>g\u00edg<\/strong>) <strong>= g\u00edg, \u00f1\u00edg, <\/strong><strong>gi6, ge6,\u00a0\u00f1i6,<\/strong><strong> \u00f1e6, mi, m\u00e9, <\/strong><strong>ku10; <\/strong><strong>gi25 <\/strong>n., gece (sesler bo\u011faz odas\u0131n\u0131 veya a\u011fz\u0131 kapal\u0131 karanl\u0131k bir oda olarak temsil eder); v., siyah veya karanl\u0131k olmak (<strong>ku10: yineleme <\/strong>s\u0131n\u0131f\u0131). adj., siyah, karanl\u0131k (cf., <strong>k\u00fakku<\/strong>). (A.Halloran, 1999, s. 25) Volume 4 \/ Sumerian-French Lexicon <strong>mi <\/strong>= <strong>mi<\/strong>: (cf., <strong>g\u00edg<\/strong>) = <strong>g\u00edg, \u00f1\u00edg, gi6, <\/strong><strong>ge6<\/strong><strong>,<\/strong><strong> \u00f1i6<\/strong><strong>,<\/strong><strong> \u00f1e6, <\/strong><strong>mi, m\u00e9, <\/strong><strong>ku10 <\/strong><strong>; <\/strong><strong>gi25 <\/strong>= gece (bo\u011faz bo\u015flu\u011funu veya karanl\u0131k bir oda gibi kapal\u0131 a\u011fz\u0131 temsil eder\/atas\u00f6zleri: siyah veya karanl\u0131k olmak (<strong>ku10<\/strong>)\/s\u0131fatlar: siyah, karanl\u0131k (cf., <strong>k\u00fakku<\/strong>).<\/p><p><a href=\"#_ftnref62\" name=\"_ftn62\">[62]<\/a><strong> ku-ku<\/strong>: atalar (?) (&#8216;bulmak; uzanmak&#8217;) (A. Halloran, 1999, s. 113) Cilt 4 \/ S\u00fcmerce-Frans\u0131zca S\u00f6zl\u00fck: <strong>ku-ku <\/strong>= atalar (?) (&#8216;bulmak&#8217;).<\/p><p><a href=\"#_ftnref63\" name=\"_ftn63\"><strong>[63]<\/strong><\/a> Esp\u00e9randieu&#8217;nun yay\u0131n\u0131ndan (*) zaten bilinen Mus\u00e9e d&#8217;Auxerre&#8217;deki bir heykel grubu (Pl. XIII, 1-2), mezar\u0131n \u00f6tesinden gelen alegoriler sorununa yeni bir belge sunabilir ve dolayl\u0131 olarak Entremont&#8217;un mitolojisinin anahtar\u0131 olan &#8220;g\u00f6zleri kapal\u0131&#8221; y\u00fcz\u00fcn karma\u015f\u0131k yorumunu s\u0131n\u0131rland\u0131r\u0131p a\u00e7\u0131kl\u0131\u011fa kavu\u015fturabilir.<\/p><ol><li>&#8211; Grup analizi ve tip k\u00f6kenleri :<\/li><\/ol><p>Alttan ve \u00fcstten par\u00e7alanm\u0131\u015f, erkek de\u011fil kad\u0131n olan ana karakter, ana tanr\u0131\u00e7alar\u0131n pozunda yuvarlak bir koltukta oturmaktad\u0131r. Pilili bir tunik giymi\u015f, koltuk altlar\u0131nda bir stola girintisi olan ve omuzlara kordonlarla ba\u011flanm\u0131\u015f, bo\u011faz ve kollar\u0131 a\u00e7\u0131kta b\u0131rakan ana tanr\u0131\u00e7a, yak\u0131n zamanda Y. B\u00e9quignon taraf\u0131ndan yay\u0131nlanan Saint-Aubin-sur-Mer&#8217;dekine benzer bir tarzda giyinmi\u015ftir (2). Bunun gibi, boynuna kal\u0131n, \u00e7ift damgal\u0131 bir me\u015fale takar ve bilekleri bileziklerle s\u00fcslenmi\u015ftir.<\/p><p>G\u00f6\u011f\u00fcs hizas\u0131na kald\u0131rd\u0131\u011f\u0131 sa\u011f eliyle, genellikle \u00f6l\u00fcleri ya da \u00f6l\u00fclerin kendilerini koruyan tanr\u0131\u00e7alar\u0131n atrib\u00fcs\u00fc olan \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fcn amblemi yuvarlak bir meyveyi, elmay\u0131 tutmaktad\u0131r (3) ve sol eliyle, ana\u00e7 bir hareketle, y\u00fcz\u00fc sa\u00e7 tutamlar\u0131yla \u00e7er\u00e7evelenmi\u015f, karn\u0131n\u0131n alt k\u0131sm\u0131 \u00e7\u0131plak, dizlerinin \u00fczerinde duran bir \u00e7ocu\u011fun ba\u015f\u0131n\u0131 desteklemektedir&#8221;.<\/p><p>Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s.440<\/p><p><a href=\"#_ftnref64\" name=\"_ftn64\"><strong>[64]<\/strong><\/a> Besan\u00e7on heykelci\u011fi ve Reims&#8217;in Cernunnos&#8217;unun varl\u0131\u011f\u0131nda, ilham kayna\u011f\u0131 pagan olan R\u00f6nesans sanat\u00e7\u0131lar\u0131n\u0131n Do\u011fa heykelleri i\u00e7in model olarak ald\u0131klar\u0131 Efes Artemis&#8217;ini d\u00fc\u015f\u00fcn\u00fcr\u00fcz. Dahas\u0131 Artemis, ana tanr\u0131lar, do\u011furgan, \u00fcretken, yarat\u0131klar\u0131 do\u011furan ve besleyen D\u00fcnya&#8217;n\u0131n ki\u015file\u015ftirmeleri olan Kibele ve Demeter ile kar\u0131\u015ft\u0131r\u0131l\u0131r. Sul\u00e8ves, Analar, Kaderler, Ilithye \u0395\u03b9\u03bc\u03b1\u03c1\u03bc\u03ad\u03bd\u03b7&#8217;nin emanasyonlar\u0131, bu tanr\u0131\u00e7alar k\u0131saca do\u011furgan Do\u011fan\u0131n tanr\u0131la\u015ft\u0131r\u0131lmas\u0131d\u0131r. Ven\u00fcs, Kybele, Demeter, Artemis, Juno, Proserpine ana-tanr\u0131\u00e7alard\u0131r. Hasat tanr\u0131\u00e7alar\u0131, \u00fcz\u00fcm hasad\u0131 tanr\u0131\u00e7alar\u0131, bereket \u00fcreticileri ve da\u011f\u0131t\u0131c\u0131lar\u0131, do\u011fal olarak zenginle\u015ftirdikleri \u00fclkelerin hay\u0131rsever anneleridir.<\/p><p>Ana Tanr\u0131\u00e7alar \u00dczerine Not. \u00c0 propos d&#8217;un monument in\u00e9dit [G. Gassies \/ Revue des \u00c9tudes Anciennes Ann\u00e9e 1906 8-1 s. <a href=\"https:\/\/www.persee.fr\/doc\/rea_0035-2004_1906_num_8_1_1421\">53-58https:\/\/www.persee.fr\/doc\/rea_0035-2004_1906_num_8_1_1421<\/a><\/p><p><a href=\"#_ftnref65\" name=\"_ftn65\"><strong>[65]<\/strong><\/a> Auxerre tanr\u0131\u00e7as\u0131n\u0131n da bir par\u00e8dre&#8217;i vard\u0131r. Sa\u011f\u0131nda g\u00f6zleri kapal\u0131, sakals\u0131z gen\u00e7 bir adam\u0131n \u00fcst bedeni g\u00f6r\u00fcn\u00fcyor&#8221; &#8220;&#8230;&#8221; orant\u0131lar\u0131 nedeniyle muhtemelen &#8220;\u00e7\u00f6melmi\u015f bir tanr\u0131&#8221; olarak resmedilmeli, kollar\u0131 g\u00f6vdesi boyunca a\u015fa\u011f\u0131 iniyor, tamamen \u00e7\u0131plak, Courotrophe&#8217;nin ayaklar\u0131n\u0131n dibinde&#8221; &#8220;&#8230;&#8221; &#8220;&#8230;&#8221;.\u00a0 &#8221; &#8230; &#8221; \u00c7\u00f6melmi\u015f tanr\u0131&#8230;&#8221; Genellikle sa\u011f\u0131m\u0131zda, Ana Tanr\u0131\u00e7a&#8217;n\u0131n sa\u011f\u0131nda onurlu bir yerde oturuyor olsa da (5), \u00f6rne\u011fin Saintes grubunda (6) bazen solumuza \u00e7\u00f6melir; sembolizmi, s\u0131rt\u0131nda boynuzlu tanr\u0131 tasviri ile peki\u015ftirilir, keseyi tutar, ayr\u0131ca iki bo\u011fa ba\u015f\u0131 (G\u00e9ryon?) ile s\u00fcslenmi\u015f bir taht \u00fczerinde \u00e7\u00f6melir. Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s.442<\/p><p><a href=\"#_ftnref66\" name=\"_ftn66\"><strong>[66]<\/strong><\/a> \u00c7\u00f6melmi\u015f tanr\u0131n\u0131n Budist gruplarda oldu\u011fu gibi solumuzda ve Kurotrof&#8217;un ayaklar\u0131n\u0131n dibindeki konumu belki de kas\u0131tl\u0131d\u0131r: onu Ya\u015fam ve Bereket tanr\u0131\u00e7as\u0131n\u0131n kar\u015f\u0131s\u0131na yerle\u015ftiren, her zaman solda bulunan Karanl\u0131k ve \u00d6l\u00fcm b\u00f6lgesine kar\u015f\u0131l\u0131k gelmiyor mu?<\/p><p>Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim tarihi 22 Ocak 2024. P.442<\/p><p>&#8220;Bu ifade sadece uyku veya \u00f6l\u00fcm anlam\u0131na gelebilir&#8221;.<\/p><p>Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim tarihi 22 Ocak 2024. P.444<\/p><p><a href=\"#_ftnref67\" name=\"_ftn67\"><strong>[67]<\/strong><\/a> &#8220;Evrensel &#8216;Toprak Ana&#8217;n\u0131n ki\u015file\u015ftirilmi\u015f hali olan Ceres-Demeter ya da Bona Dea Courotrophes&#8217;in temsillerinden biridir&#8221;, bazen \u00e7ocukla birlikte emzirilen bir domuz, tanr\u0131\u00e7aya kurban edilen bir kurban ya da bereket amblemi ta\u015f\u0131r. Bu pi\u015fmi\u015f toprak heykelcikler Campania ve Etruria tap\u0131naklar\u0131nda \u00e7ok bol bulunur; oturan ya da ayakta duran Courotroph kuca\u011f\u0131nda kundaklanm\u0131\u015f, kukuletal\u0131 bir \u00e7ocuk tutar ya da iki veya daha fazla \u00e7ocukla \u00e7evrilidir (Capua&#8217;da bir tanesinin kuca\u011f\u0131nda on iki \u00e7ocuk vard\u0131r), bazen bunlar\u0131n yerine bir yaban domuzu ya da meyve konur: Paestum&#8217;da (2), Campetti&#8217;de (3), Preneste&#8217;de (4), Fratto di Salerno&#8217;da (elinde bir yaban domuzu ya da bir \u00e7ocuk tutmaktad\u0131r), Sicilya&#8217;da, Gela&#8217;da (5), Camarina&#8217;da (6). Capua&#8217;daki Fondo Patturelli kutsal alan\u0131 (\u015fek. 1) sadece pi\u015fmi\u015f topraktan de\u011fil, t\u00fcften de \u00e7ok say\u0131da (7 ila 800), her iki tipi de temsil eden, yaban domuzunun \u00e7ocu\u011fun yerine ge\u00e7ti\u011fi eserler \u00fcretmi\u015ftir (7). Bazen kurotrof tanr\u0131\u00e7a sa\u011f\u0131na yerle\u015ftirilmi\u015f par\u00e8dre ile ili\u015fkilendirilir (Campetti).<\/p><p>Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, <a href=\"http:\/\/www.jstor.org\/stable\/41519549.%20Accessed%2022%20Jan.%202024\">http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim 22 Ocak 2024<\/a>. sayfa.441<\/p><p><a href=\"#_ftnref68\" name=\"_ftn68\"><strong>[68]<\/strong><\/a> Giysisini iki eliyle k\u0131v\u0131ran \u00e7ocu\u011fun karn\u0131n\u0131n alt k\u0131sm\u0131, a\u00e7\u0131k\u00e7a belirtildi\u011fi \u00fczere cinsiyetini ortaya koymaktad\u0131r. &#8221; &#8230; &#8221; Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, <a href=\"http:\/\/www.jstor.org\/stable\/41519549.%20Accessed%2022%20Jan.%202024\">http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim 22 Ocak 2024<\/a>. sayfa.443<\/p><p><a href=\"#_ftnref69\" name=\"_ftn69\"><strong>[69]<\/strong><\/a> Ana Tanr\u0131\u00e7a \u00f6len ki\u015fiyi rahmine kabul eder. &#8230; &#8220;Auxerre&#8217;li Courotrophe, niteli\u011fi \u00e7ocuk olan bir ana-tanr\u0131\u00e7a gibi g\u00f6r\u00fcnmektedir&#8221;.<\/p><p>Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, <a href=\"http:\/\/www.jstor.org\/stable\/41519549.%20Accessed%2022%20Jan.%202024\">http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim 22 Ocak 2024<\/a>. sayfa.446<\/p><p>&#8221; &#8230; &#8221; &#8220;Bir tap\u0131nak ve bir nekropol\u00fcn yak\u0131n\u0131nda bulunan Campanian kutsal alan\u0131ndaki 7 ila 800 t\u00fcf heykel ve pi\u015fmi\u015f toprak heykelci\u011fin temsilinin kimli\u011fi, kundakl\u0131 ve kukuletal\u0131 \u00e7ocuklar\u0131n ya da anneleriyle oynayanlar\u0131n, Toprak Ana&#8217;n\u0131n ba\u011fr\u0131na bas\u0131lan bir bebek k\u0131l\u0131\u011f\u0131ndaki merhumun geleneksel fig\u00fcrleri mi yoksa meyve ya da bolluk boynuzu de\u011ferinde basit do\u011furganl\u0131k at\u0131flar\u0131 m\u0131 oldu\u011fu sorusunu bile g\u00fcndeme getirmektedir&#8221;.<\/p><p>Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim tarihi 22 Ocak 2024. Sayfa 447<\/p><p><a href=\"#_ftnref70\" name=\"_ftn70\"><strong>[70]<\/strong><\/a> Capua Courotrophes&#8217;lerinin tanr\u0131sal karakteri J. Heurgon taraf\u0131ndan hakl\u0131 olarak \u00f6ne s\u00fcr\u00fclm\u00fc\u015ft\u00fcr (x): \u00e7ocuklar\u0131n\u0131 ya da annelik yeminlerini sunan kad\u0131nlar de\u011fil &#8211; bu son yorum tarih \u00f6ncesi sanatta bilinmeyen modern bir anlay\u0131\u015fa uymaktad\u0131r &#8211; \u00f6l\u00fcml\u00fcy\u00fc anne koynuna alan ve onu koruyan tanr\u0131sall\u0131\u011f\u0131n temsilidirler.<\/p><p>Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim tarihi 22 Ocak 2024. Sayfa 447<\/p><p><a href=\"#_ftnref71\" name=\"_ftn71\">[71]<\/a> Tourrettes&#8217;in &#8220;Toprak Ana &#8220;s\u0131 ve Gallo-Roma ana tanr\u0131\u00e7alar\u0131. &#8221; &#8230; &#8221; Grup, oturan &#8220;Toprak Ana &#8220;y\u0131 (Levha XIV, 5-6) temsil eder ve ilk kez bir \u00f6zelli\u011fe sahiptir: kuca\u011f\u0131nda Courotrophes&#8217;in bebe\u011fini de\u011fil, sol elini \u00fczerine koydu\u011fu &#8220;kesik bir ba\u015f\u0131&#8221; tutar. &#8221; &#8230; &#8221; Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim tarihi 22 Ocak 2024. Sayfa 449<\/p><p><a href=\"#_ftnref72\" name=\"_ftn72\">[72]<\/a> \u00d6zelli\u011finin benzersizli\u011fi, Tourrettes heykelci\u011finin, merhumun bir &#8220;k\u0131saltmas\u0131&#8221; olarak g\u00f6r\u00fcnen kesik ba\u015f\u0131n prototipi olarak g\u00f6r\u00fclebilece\u011fi anlam\u0131na gelir. &#8221; &#8230; &#8221; Kesik ba\u015f\u0131n temsili yerli bir inanca tekab\u00fcl ediyor gibi g\u00f6r\u00fcnmektedir &#8220;&#8230;&#8221; Kesik ba\u015flar\u0131n, \u00f6lenin yerine ge\u00e7en Hermes&#8217;in Helenik kavram\u0131na g\u00f6re, \u00f6l\u00fcn\u00fcn ikizi de\u011ferine sahip oldu\u011fu g\u00f6r\u00fclmektedir. Referans: Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, <a href=\"http:\/\/www.jstor.org\/stable\/41519549.%20Accessed%2022%20Jan.%202024\">http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim tarihi 22 Ocak 2024<\/a>. Sayfa 450<\/p><p><a href=\"#_ftnref73\" name=\"_ftn73\"><strong>[73]<\/strong><\/a> Ana Tanr\u0131\u00e7a k\u00fclt\u00fc en eski Hint-Avrupa inan\u00e7lar\u0131ndan biridir ve C. Jullian&#8217;\u0131n g\u00f6sterdi\u011fi gibi \u0130talik ve Kelt b\u00f6lgelerinde ortakt\u0131r (2). Jullian, \u0130talik ve Kelt b\u00f6lgelerinde ortakt\u0131r (2). Rit\u00fcel, Orta \u00c7a\u011f&#8217;da pi\u015fmi\u015f toprak fig\u00fcrinlerin mezara b\u0131rak\u0131lmas\u0131yla g\u00fcn\u00fcm\u00fcze ula\u015fm\u0131\u015ft\u0131r.<\/p><p>Roma (3). \u0130nsan do\u011furganl\u0131\u011f\u0131n\u0131n anas\u0131 ve Khthonik d\u00fcnyan\u0131n h\u00fck\u00fcmdar\u0131 olarak ya\u015fayanlar\u0131 ve \u00f6l\u00fcleri korur ve Helen \u00f6ncesi d\u00f6nemlerden itibaren kutsal alanlarda, mezarl\u0131klarda ve evlerde de bulunur (4). Galya&#8217;da, Marne ma\u011faralar\u0131ndaki mezar\u0131n giri\u015finde n\u00f6bet tutan &#8220;Neolitik&#8221; idolde tan\u0131nabilir; \u015fematik \u00e7izimi yak\u0131n zamanda Ollioules ge\u00e7itlerinin ma\u011faralar\u0131nda ke\u015ffedilen Bronz ve Demir \u00c7a\u011f\u0131 ma\u011fara resimlerinde bulunabilir (5). Mezar\u0131n koruyucusudur ve bu nedenle herhangi bir nitelikten yoksundur, &#8220;\u00f6l\u00fcme kar\u015f\u0131 ya\u015fam &#8230;, ya\u015fam\u0131 ileten kad\u0131n&#8221; d\u0131r (6).<\/p><p>Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, <a href=\"http:\/\/www.jstor.org\/stable\/41519549.%20Accessed%2022%20Jan.%202024\">http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim tarihi 22 Ocak 2024<\/a>. Sayfa 448<\/p><p><a href=\"#_ftnref74\" name=\"_ftn74\"><strong>[74]<\/strong><\/a> C. Yorumu S. Reinach&#8217;\u0131nkine benzeyen Jullian, onu &#8220;Toprak Ana &#8220;n\u0131n ki\u015file\u015ftirilmesi olarak g\u00f6rm\u00fc\u015f ve &#8220;\u00f6l\u00fcleri yeniden canland\u0131rd\u0131\u011f\u0131 varsay\u0131l\u0131rd\u0131: iskeletlerin \u00e7\u00f6melme pozisyonu bundand\u0131r; Marne (\u0433) putlar\u0131nda g\u00f6\u011f\u00fcslerin bulunmas\u0131 bundand\u0131r&#8221; demekten \u00e7ekinmemi\u015ftir. mater genuit materque recepii<\/p><p>Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, <a href=\"http:\/\/www.jstor.org\/stable\/41519549.%20Accessed%2022%20Jan.%202024\">http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim tarihi 22 Ocak 2024<\/a>. Sayfa 449<\/p><p><a href=\"#_ftnref75\" name=\"_ftn75\"><strong>[75]<\/strong><\/a> Asl\u0131nda, Bay Benoit Fernand \u015fu soruyu sordu\u011funda bu kadar\u0131n\u0131 s\u00f6ylemi\u015fti: &#8220;Magna Graecia&#8217;dan gelen mezar heykelciklerindeki kundaklanm\u0131\u015f \u00e7ocuk ithifalizmi, \u00f6len ki\u015finin apotheosis&#8217;ine i\u015faret etmiyor mu? &#8221; &#8230; &#8221; Referans :<\/p><p>Benoit, Fernand. &#8220;Un Groupe de La D\u00e9esse-M\u00e8re et Du &#8220;dieu Accroupi&#8221; Au Mus\u00e9e d&#8217;Auxerre.&#8221; Latomus, vol. 10, no. 4, 1951, s. 439-57. JSTOR, http:\/\/www.jstor.org\/stable\/41519549. Eri\u015fim tarihi 22 Ocak 2024. Sayfa 444<\/p><p><a href=\"#_ftnref76\" name=\"_ftn76\"><strong>[76]<\/strong><\/a> Hatta bazen iki ilah tek bir ilahta birle\u015ftirilmi\u015ftir. En az\u0131ndan ge\u00e7en yaz\u0131m\u0131zda bahsetti\u011fimiz Besan\u00e7on&#8217;daki ilgin\u00e7 heykelcikte durum b\u00f6yledir. Dom Martin&#8217;in Religion des Gaulois adl\u0131 eserinde bu an\u0131t\u0131n b\u00fcy\u00fck bir \u00e7izimi bulunmaktad\u0131r. Bir modius \u00fczerine \u00e7\u00f6melmi\u015f, Budist tavr\u0131nda bir tanr\u0131\u00e7a g\u00f6r\u00fclmektedir; bir elinde bir cornucopia, di\u011ferinde bir meyve tutmaktad\u0131r; ana tanr\u0131\u00e7alar gibi g\u00f6\u011f\u00fcslerinin alt\u0131na katlanm\u0131\u015f bir tunik giymi\u015ftir; son olarak, ba\u015f\u0131n\u0131n \u00fczerinde iki muhte\u015fem geyik boynuzu bulunmaktad\u0131r. Cernunnos ve ana tanr\u0131\u00e7an\u0131n niteliklerini birle\u015ftiren bu ilah \u00e7ok ilgin\u00e7tir. Ancak, Fransa ve Almanya&#8217;da s\u00f6z konusu ilahlar hakk\u0131nda yay\u0131nlanan \u00e7ok say\u0131da makaleye bak\u0131l\u0131rsa, \u00e7ok az bilinmektedir. Ana Tanr\u0131\u00e7alar \u00fczerine bir not. \u00c0 propos d&#8217;un monument in\u00e9dit [G. Gassies \/ Revue des \u00c9tudes Anciennes \/ Ann\u00e9e 1906 8-1 s. 53-58https:\/\/www.persee.fr\/doc\/rea_0035-2004_1906_num_8_1_1421<\/p><p><a href=\"#_ftnref77\" name=\"_ftn77\">[77]<\/a><em> Tharros arkeolojik alan\u0131 :<\/em><\/p><p><em>Tarih \u00f6ncesi \u00e7a\u011flarda toprak<\/em><\/p><p><em>Tharros&#8217;un i\u00e7inde bulundu\u011fu en geni\u015f alan olan ve Montiferru&#8217;ya kadar uzanan Sinis b\u00f6lgesi, avc\u0131l\u0131k, bal\u0131k\u00e7\u0131l\u0131k ve \u00e7ift\u00e7ilik i\u00e7in ideal olan arazinin ayr\u0131cal\u0131kl\u0131 konumu sayesinde tarih \u00f6ncesi yerle\u015fimler a\u00e7\u0131s\u0131ndan zengindir (\u015eekil 1).<\/em><\/p><p><em>Nurajik d\u00f6nem \u00f6ncesine ait pek \u00e7ok ilgin\u00e7lik aras\u0131nda en \u00f6nemlisi \u015f\u00fcphesiz Cabras g\u00f6l\u00fcn\u00fcn lag\u00fcn kenar\u0131ndaki Cuccuru S&#8217;Arriu k\u00f6y\u00fcd\u00fcr. Neolitik d\u00f6nemden (M\u00d6 4. biny\u0131l) kalma \u00e7ok say\u0131da kul\u00fcbenin yan\u0131 s\u0131ra, \u00f6nemli nesnelerle zengin hipogean f\u0131r\u0131n mezarlar ke\u015ffedilmi\u015ftir. Bunlardan birinde (\u015fekil 2-3) \u00f6len ki\u015fi cenin pozisyonunda \u00e7\u00f6melmi\u015f, elinde y\u00fcz\u00fcne d\u00f6n\u00fck bir steatopyge Ana Tanr\u0131\u00e7a heykelci\u011fi tutarken g\u00f6sterilmi\u015ftir.<\/em><\/p><p><a href=\"https:\/\/virtualarchaeology.sardegnacultura.it\/index.php\/fr\/site-archeologique\/eta-fenicio-punica\/zone-archeologique-de-tharros\/fiches-detaillees\/1788-il-territorio-in-eta-preistorica\"><em>https:\/\/virtualarchaeology.sardegnacultura.it\/index.php\/fr\/site-archeologique\/eta-fenicio-punica\/zone-archeologique-de-tharros\/fiches-detaillees\/1788-il-territorio-in-eta-preistorica<\/em><\/a><\/p><p><a href=\"#_ftnref78\" name=\"_ftn78\"><strong>[78]<\/strong><\/a> Gorges du Verdon Tarih \u00d6ncesi M\u00fczesi<\/p><p>https:\/\/www.museeprehistoire.com\/fileadmin\/mediatheque\/quinson\/documents\/Espace_presse\/2012-Dossier-presse-dElleGrandedesse-MuseeQuinson.pdf<\/p><p><a href=\"#_ftnref79\" name=\"_ftn79\">[79]<\/a> Burada sundu\u011fum \u00e7\u00f6melmi\u015f ana tanr\u0131\u00e7a ve s\u0131v\u0131lar aras\u0131ndaki bu ili\u015fkiye dair anlay\u0131\u015f\u0131m\u0131n asl\u0131nda Anton Parks&#8217;\u0131n kitab\u0131n\u0131 okumamdan ve eski Meksika k\u00fcltlerinde adet kanamas\u0131n\u0131n kullan\u0131m\u0131n\u0131n gizli anlam\u0131na odakland\u0131\u011f\u0131 analizinden (referans verilen) geldi\u011fini\u00a0 eklemek isterim. Bu analiz &#8220;Karanl\u0131k Y\u0131ld\u0131zlar\u0131n S\u0131rr\u0131&#8221; adl\u0131 kitab\u0131n\u0131n 301 ila 303. sayfalar\u0131ndaki dipnotlarda bulunabilir.<\/p><p>Kitab\u0131n\u0131n 308. sayfas\u0131nda menstr\u00fcasyona ek olarak \u015fu v\u00fccut s\u0131v\u0131lar\u0131ndan da bahsetmektedir: t\u00fck\u00fcr\u00fck, vajinal salg\u0131lar ve s\u00fct, ancak daha fazla a\u00e7\u0131klama yapmadan, asl\u0131nda daha fazlas\u0131 varken ve her biri ayr\u0131 bir makaleyi hak ederken.\u00a0<\/p><p>\u00c7\u00f6melen tanr\u0131\u00e7a ile ak\u0131\u015fkan sembolizmi aras\u0131ndaki ba\u011flant\u0131y\u0131 ele alan bu b\u00f6l\u00fcmde, onun konuyla ilgili kitaplar\u0131ndan ald\u0131\u011f\u0131m birka\u00e7 resimle (\u00f6rne\u011fin Maya Kodeksi&#8217;nde buldu\u011fum 6. ve 7. \u015fekiller) ve geri kalan\u0131yla Maya Kodeksi&#8217;nde, Aborjinler, Keltler veya Okyanusya&#8217;da yapt\u0131\u011f\u0131m kendi ara\u015ft\u0131rmalar\u0131mdan yararlanarak onunkiyle ayn\u0131 a\u00e7\u0131klamay\u0131 kullan\u0131yorum.<\/p><p>Her hal\u00fckarda, herkesin eme\u011fine sayg\u0131 duymak i\u00e7in, benden kaynaklanmad\u0131\u011f\u0131nda anlay\u0131\u015f kaynaklar\u0131m\u0131n ne oldu\u011funu her seferinde belirtiyorum.<\/p><p>Dolay\u0131s\u0131yla, tanr\u0131sall\u0131\u011f\u0131n s\u0131v\u0131lar\u0131n\u0131 yaymak i\u00e7in \u00e7\u00f6meldi\u011fine dair bu ilk anlay\u0131\u015f, bu durumda benim de\u011fil.<\/p><p>Bununla birlikte, ek ill\u00fcstrasyonlar ve \u00f6rneklerle bunu daha da geli\u015ftirmenin kesinlikle gerekli oldu\u011funu hissettim.<\/p><p>Ayr\u0131ca, sadece birka\u00e7\u0131n\u0131 ifade etmek yerine, Semboller S\u00f6zl\u00fc\u011f\u00fc&#8217;n\u00fcn 3. Cildinin S\u0131v\u0131 Sembolizmi kategorisinde yapt\u0131\u011f\u0131m gibi, ilgili t\u00fcm v\u00fccut s\u0131v\u0131lar\u0131n\u0131 (antik d\u00fcnyada humus olarak adland\u0131r\u0131lanlar) ayr\u0131nt\u0131l\u0131 olarak listeleyip analiz ederek (t\u00fcm semboloji ve kar\u015f\u0131la\u015ft\u0131rmal\u0131 mitoloji ile tam etimolojik analiz) yelpazeyi geni\u015fletmek de ayn\u0131 derecede gerekli g\u00f6r\u00fcn\u00fcyordu.<\/p><p>Dolay\u0131s\u0131yla, bu konuda sundu\u011fum analiz, ister rasyonel ister ihtiyatl\u0131 olsun, okuyucuya hi\u00e7bir \u015f\u00fcpheye yer b\u0131rakmamak i\u00e7in gerekli g\u00f6rd\u00fc\u011f\u00fcm istisnas\u0131z t\u00fcm ak\u0131\u015fkan sembollerin ilgili ve kapsaml\u0131 analizi nedeniyle, bu konuda \u015fimdiye kadar yaz\u0131lm\u0131\u015f olan her \u015feyden \u00e7ok daha eksiksizdir.<\/p><p>Son olarak, bu \u00f6zel y\u00f6n\u00fc, bu \u00e7ok kesin k\u00fclt ayinini, ana tanr\u0131\u00e7an\u0131n i\u015fi olarak yeniden do\u011fu\u015fa ve rahminin baban\u0131n reenkarnasyonu olan bir kurtar\u0131c\u0131 mesih yaratma g\u00fcc\u00fcne olan inanc\u0131yla mitolojik d\u00fc\u015f\u00fcncenin daha genel \u00e7er\u00e7evesine entegre etmenin kesinlikle gerekli oldu\u011funu eklemek isterim. Bu ilksel ana tanr\u0131\u00e7an\u0131n kimli\u011fini ortaya \u00e7\u0131karmaktan ve t\u00fcm sembollerinin gizemini \u00e7\u00f6zmekten bahsetmiyorum bile. \u00c7\u00f6melme pozisyonu ile yeniden do\u011fu\u015f aras\u0131ndaki ba\u011flant\u0131y\u0131 &#8216;k\u0131saca&#8217; anlatan b\u00f6l\u00fcm\u00fcn de g\u00f6sterdi\u011fi gibi, ben de bunu yapt\u0131m.<\/p><p>Bununla birlikte, A. Parks&#8217;a ara\u015ft\u0131rmas\u0131 i\u00e7in sayg\u0131lar\u0131m\u0131 sunuyor ve g\u00f6r\u00fc\u015fleri i\u00e7in te\u015fekk\u00fcr ediyorum.<\/p><p><a href=\"#_ftnref80\" name=\"_ftn80\">[80]<\/a> (A. PARKS, Karanl\u0131k Y\u0131ld\u0131zlar\u0131n S\u0131rr\u0131, 2005, s. 201, 203)<\/p><p><a href=\"#_ftnref81\" name=\"_ftn81\">[81]<\/a> Resim Anton Parks&#8217;\u0131n Adam Genesis kitab\u0131ndan al\u0131nm\u0131\u015ft\u0131r, s. 102<\/p><p><a href=\"#_ftnref82\" name=\"_ftn82\">[82]<\/a> Bu \u015fekil ayn\u0131 zamanda s\u0131v\u0131lar\u0131n, \u00f6zellikle de idrar\u0131n analizinde kullan\u0131l\u0131r (bkz. Cilt 3 Sembol \u0130ncili).<\/p><p><a href=\"#_ftnref83\" name=\"_ftn83\">[83]<\/a> (A. PARKS, Karanl\u0131k Y\u0131ld\u0131zlar\u0131n S\u0131rr\u0131, 2005, s. 314)<\/p><p><a href=\"#_ftnref84\" name=\"_ftn84\">[84]<\/a> Cf Volume 4 \/ Sumerian-French Lexicon:<strong> \u0161\u00e0 <\/strong>= (cf.,<strong> \u0161ag5<\/strong>) -)<strong> \u0161ag4,\u00a0\u0161\u00e0 <\/strong>= isimler: ba\u011f\u0131rsaklar, kalp, mide, kar\u0131n, ba\u011f\u0131rsaklar, rahim, v\u00fccut, i\u00e7, orta, i\u00e7, nehir yata\u011f\u0131, irade, ruh hali, anlam veya anlam (tah\u0131l \/ ekstre + su \/ idrar + i\u00e7i bo\u015f kap) dayal\u0131 :<\/p><p><strong>\u0161ag4, \u0161\u00e0 <\/strong>= n., ba\u011f\u0131rsaklar; ba\u011f\u0131rsak; kalp; mide; kar\u0131n; ba\u011f\u0131rsaklar; i\u00e7erik; rahim; v\u00fccut; i\u00e7, orta, i\u00e7; bir nehrin yata\u011f\u0131; irade, irade; ruh hali; anlam, \u00f6nem (tah\u0131l \/ salg\u0131 + su \/ idrar + oda). (Halloran, s. 27)<\/p><p><a href=\"#_ftnref85\" name=\"_ftn85\">[85]<\/a> Havva isminin ve \u00e7e\u015fitli olas\u0131 transliterasyonlar\u0131n\u0131n analizini g\u00f6zden ge\u00e7irin (bkz. Cilt 3 Sembol\u00fcn Kutsal Kitab\u0131)<\/p><p><a href=\"#_ftnref86\" name=\"_ftn86\">[86]<\/a> Vitruvius Adam\u0131 gibi.<\/p><p><a href=\"#_ftnref87\" name=\"_ftn87\">[87]<\/a> Kaplumba\u011fa sembolizmini g\u00f6zden ge\u00e7irin (Cilt 3 Sembollerin Kutsal Kitab\u0131)<\/p><p><a href=\"#_ftnref88\" name=\"_ftn88\">[88]<\/a> A\u011fa\u00e7 sembolizminin g\u00f6zden ge\u00e7irilmesi (3. Cilt Sembol \u0130ncili)<\/p><p><a href=\"#_ftnref89\" name=\"_ftn89\"><strong>[89]<\/strong><\/a> Bir epifanide tanr\u0131n\u0131n ad\u0131n\u0131 Yunanca Karnonos olarak buluruz<\/p><p>Cernunos&#8217;ta Wikipedia<\/p><p><a href=\"#_ftnref90\" name=\"_ftn90\"><strong>[90]<\/strong><\/a> Gizemli Dis Pater belki de Cernunnos (boynuzlu) olarak adland\u0131r\u0131lan ve aln\u0131n\u0131 b\u00fcy\u00fck bir geyik boynuzunun s\u00fcsledi\u011fi olduk\u00e7a tuhaf bir ba\u015fka ilahta bulunabilir. Bu tanr\u0131 genellikle bacak bacak \u00fcst\u00fcne atm\u0131\u015f bir \u015fekilde oturur; genellikle di\u011fer iki tanr\u0131yla birlikte gruplan\u0131r. Tek ba\u015f\u0131na da bulunabilir, ancak ba\u015f\u0131 ya \u00f6nden bir ba\u015f ve kafatas\u0131na eklenmi\u015f iki profil ile ya da kulaklar\u0131n\u0131n \u00fczerinde kafatas\u0131na eklenmi\u015f iki k\u00fc\u00e7\u00fck ba\u015f ile \u00fc\u00e7l\u00fcd\u00fcr.\u00a0 Bir t\u00fcr Galya Serapisi olan bu \u00fc\u00e7 ba\u015fl\u0131 djeu&#8217;yu yorumlamak zordur. Yan\u0131nda genellikle boynuzlu ya da ko\u00e7 ba\u015fl\u0131 bir y\u0131lan bulundu\u011fundan, onu Khthonik bir tanr\u0131 olarak g\u00f6rmek caziptir. \u00c7e\u015fitli kabartmalarda Cernunnos&#8217;un Merk\u00fcr-Teutates ile sava\u015f\u0131rken tasvir edildi\u011fi g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda bu daha da do\u011frudur. Sonuncusu galip gelmi\u015f gibi g\u00f6r\u00fcnmekte, \u0131\u015f\u0131lt\u0131l\u0131 ya da sava\u015f\u00e7\u0131 g\u00fcc\u00fcn karanl\u0131\u011f\u0131n g\u00fcc\u00fc kar\u015f\u0131s\u0131ndaki zaferini simgelemektedir.<\/p><p>Ancak bazen Cernunnos&#8217;un yan\u0131nda bir s\u0131\u011f\u0131r da bulunur. Bu nedenle onun Yunan Geryon&#8217;uyla, yani \u00fc\u00e7l\u00fc Geryon&#8217;la bir akrabal\u0131\u011f\u0131 olup olmad\u0131\u011f\u0131n\u0131 merak ettik. &#8220;&#8230; &#8220;Geryon ad\u0131 k\u00fckreyen anlam\u0131na gelir&#8230; kendisi de aslen bir bo\u011fayd\u0131. Bu da akla tarvos trigaranus&#8217;u (ya da trikaranos) getirmektedir (F. GUIRAND, 1996, s. 276).<\/p><p><a href=\"#_ftnref91\" name=\"_ftn91\">[91]<\/a> \u0130rlanda&#8217;da Cernnunnos&#8217;un &#8220;kutsal&#8221; anlam\u0131na gelen N\u00e9med ad\u0131nda bir avatar\u0131 vard\u0131r. Lebor Gabala ya da Fetihler Kitab\u0131 adl\u0131 eserde &#8220;Tanr\u0131-Kalp&#8221; olarak bilinen Nemed, \u0130rlanda&#8217;y\u0131 fetheden ikinci halk\u0131n efendisidir: &#8220;Halk-Kalp&#8221;. Fetihlerinin ard\u0131ndan, b\u00fcy\u00fcc\u00fc-kral Balor&#8217;un himayesi alt\u0131ndaki k\u00f6t\u00fc bir halk olan Formoir\u00e9s ile kar\u015f\u0131 kar\u015f\u0131ya gelirler. \u0130ki kahraman halk aras\u0131nda birbirini izleyen \u00fc\u00e7 sava\u015f\u0131n ard\u0131ndan, kurt-insanlar ve liderleri d\u00f6rd\u00fcnc\u00fc ve son kar\u015f\u0131la\u015fmada yok edildi. Cernunnos&#8217;un rakibini temsil eden Foirmoir\u00e9s, \u00f6rne\u011fin bir Gallo-Roma ikonografik sahnesinde &#8220;&#8230;&#8221; sopal\u0131 \u00fc\u00e7\u00fcnc\u00fc ki\u015fi, boynuzlu tanr\u0131y\u0131 (\u00e7it-insanlar\u0131 ve her \u015feyden \u00f6nce efendilerini) yenmi\u015f ve kar\u0131s\u0131 Ana Tanr\u0131\u00e7a&#8217;y\u0131 (burada krall\u0131k, toprak veya \u0130rlanda b\u00f6lgesi ile sembolize edilmektedir) alm\u0131\u015ft\u0131r. Wikipedia&#8217;da Cernunos<\/p><p><a href=\"#_ftnref92\" name=\"_ftn92\">[92]<\/a> Alain Dani\u00e9lou&#8217;ya g\u00f6re, yogik duru\u015fu, Mohenjo-daro&#8217;da (\u0130ndus uygarl\u0131\u011f\u0131) bulunan m\u00fch\u00fcrle ayn\u0131 ikonografik temaya dayanan Kelt \u00f6ncesi (ve Hint-Avrupa \u00f6ncesi) bir k\u00f6kene i\u015faret edebilir: ba\u011fda\u015f kurarak oturmu\u015f, etraf\u0131 hayvanlarla \u00e7evrili boynuzlu bir tanr\u0131 temsili. Bu fig\u00fcr\u00fcn &#8220;&#8230;&#8221; &#8220;ilkel bir \u015eiva fig\u00fcr\u00fcne&#8221; kar\u015f\u0131l\u0131k geldi\u011fi d\u00fc\u015f\u00fcn\u00fclmektedir&#8230;&#8221;. D\u00fcnyan\u0131n ayn\u0131 b\u00f6lgesinde yer alan benzer bir simge, Harappa arkeolojik alan\u0131nda bulunan ve Hindistan&#8217;da Aryan \u00f6ncesi d\u00f6neme tarihlenen ba\u015fka bir m\u00fch\u00fcr \u00fczerinde tespit edilmi\u015ftir. Bu iki ipucuna dayanarak, Cernunnos ile \u015eiva aras\u0131nda mitolojik bir akrabal\u0131k oldu\u011funu varsayabiliriz. Cernunos hakk\u0131nda Wikipedia<\/p><p><a href=\"#_ftnref93\" name=\"_ftn93\"><\/a>\u00a0<\/p><p>[93] Cernunnos &#8216;Budist&#8217; tarz\u0131nda ba\u011fda\u015f kurarak oturmaktad\u0131r. Bu, ba\u011fda\u015f kurmu\u015f olarak tasvir edilen Kelt tanr\u0131 ve kahramanlar\u0131n\u0131n geleneksel duru\u015fudur. &#8221; &#8230; &#8221; Cernunos hakk\u0131nda Wikipedia<\/p><p><a href=\"#_ftnref94\" name=\"_ftn94\">[94]<\/a> Cernunnos&#8217;un bir ikonas\u0131n\u0131n Ana Tanr\u0131\u00e7a&#8217;n\u0131nkiyle ili\u015fkilendirilmesi de yayg\u0131nd\u0131r. Bunun en \u00e7ok incelenen \u00f6rnekleri, iki Kelt tanr\u0131s\u0131n\u0131n a\u00e7\u0131k ve net bir \u015fekilde tasvir edildi\u011fi ve aralar\u0131nda do\u011frudan bir ili\u015fki bulunan Gundestrup Kazan\u0131; Saintes&#8217;teki Gallo-Roma an\u0131t\u0131 Germanicus Kemeri&#8217;nin bir y\u00fcz\u00fcne yontulmu\u015f, yoga duru\u015funda \u00e7\u0131plak, boynuzlu bir adam, yan\u0131nda elinde bereket ta\u015f\u0131yan bir kad\u0131n ve elinde sopa olan ba\u015fka bir adam tasviridir; Di\u011fer tarafta ise yine \u00e7\u0131plak ve lotus duru\u015funda, ancak boynuzlar\u0131 olmayan bir adam, elinde bereket tutan bir kad\u0131n\u0131n yan\u0131nda durmaktad\u0131r, ancak bu kez ikonografik sahnede sopal\u0131 \u00fc\u00e7\u00fcnc\u00fc fig\u00fcr yer almamaktad\u0131r. Wikipedia&#8217;da Cernunos<\/p><p><a href=\"#_ftnref95\" name=\"_ftn95\"><strong>[95]<\/strong><\/a> Cernunos&#8217;a bir ana tanr\u0131\u00e7a e\u015flik ediyordu. Bu ortak anadan insanlar, hayvanlar ve bitkiler do\u011fmu\u015ftur. Ayn\u0131 zamanda \u00f6l\u00fclerin de koruyucusudur. Petit Morin&#8217;in (Marne) Neolitik ma\u011faralar\u0131n\u0131n duvarlar\u0131nda, Aveyron ve Tarn b\u00f6lgelerinin dolmenik heykellerinde ve yontulmu\u015f menhirlerinde g\u00f6r\u00fclebilen kolye ve kemer takan kad\u0131n temsillerinde bu tanr\u0131\u00e7ay\u0131 cehennem tanr\u0131s\u0131n\u0131n e\u015fi olarak tan\u0131mak caziptir. O, hi\u00e7 \u015f\u00fcphesiz, bereketli topra\u011f\u0131n tanr\u0131\u00e7as\u0131, G\u00e9 meter (toprak ana) d\u00e9 meter, Akdeniz dinlerinin Cyb\u00e8le&#8217;idir (F.GUIRAND, 1996, s. 276).<\/p><p><a href=\"#_ftnref96\" name=\"_ftn96\">[96]<\/a> &#8220;&#8230;&#8221; Melanezya&#8217;n\u0131n say\u0131s\u0131z kutsal heykelleri, \u00f6zellikle de Yeni Gine&#8217;nin korwarlar\u0131, &#8220;&#8230;&#8221; terimin tam anlam\u0131yla put de\u011fildir, \u00e7\u00fcnk\u00fc bu resimlere yap\u0131lan tap\u0131nma ger\u00e7ekte onlara de\u011fil, i\u00e7lerinde bulunan do\u011fa\u00fcst\u00fc g\u00fc\u00e7lere y\u00f6neliktir, yerlilerin a\u00e7\u0131k ifadelerine g\u00f6re esasen atalar\u0131n ruhlar\u0131 olan koruyucu ruhlar\u0131 temsil eder. Ancak pek \u00e7ok durumda bu ruhlar tanr\u0131 mertebesine y\u00fckseltilmi\u015flerdir ya da tam tersine, temsillerinin hayvan bi\u00e7iminden ya da antropomorfik olduklar\u0131nda b\u00fcy\u00fck a\u011f\u0131zlar\u0131ndan ya da ruhlar\u0131 yutmak i\u00e7in kulland\u0131klar\u0131 uzun di\u015flerinden de anla\u015f\u0131laca\u011f\u0131 \u00fczere, d\u00fc\u015fm\u00fc\u015f eski tanr\u0131lard\u0131r. Mikronezya&#8217;da, \u00f6zellikle de Marianas&#8217;ta, atalar k\u00fclt\u00fc tanr\u0131lar\u0131n yerini alm\u0131\u015ft\u0131r (F. GUIRAND, 1996, s. 551, 552).<\/p><p><a href=\"#_ftnref97\" name=\"_ftn97\">[97]<\/a> Bu heykel, \u00f6lm\u00fc\u015f bir atan\u0131n (yerel dilde korwar) ruhunun, ya\u015fayanlar i\u00e7in talihsizlik olacak ve ailenin prestij ve g\u00fc\u00e7 kaybetmesine neden olacak \u015fekilde dola\u015fmamas\u0131 ve b\u00f6ylece \u00f6l\u00fcn\u00fcn onurunu zedelememesi i\u00e7in bir kap g\u00f6revi g\u00f6r\u00fcr. Bu heykel taraf\u0131ndan onurland\u0131r\u0131lan \u00f6l\u00fc ki\u015fi kutsal bir stat\u00fckazan\u0131r ve ya\u015fayanlar i\u00e7in bir rehber g\u00f6revi g\u00f6r\u00fcr. \u00d6zellikle kafatas\u0131n\u0131n \u00fczerinde uyuyarak ya da kehanet ayiniyle \u00f6nemli kararlar hakk\u0131nda sorgulan\u0131r.<\/p><p><a href=\"#_ftnref98\" name=\"_ftn98\">[98]<\/a> Korwar, oturmu\u015f bir insan v\u00fccudu \u00fczerinde abart\u0131l\u0131 bir kafatas\u0131n\u0131 temsil eden, dizleri b\u00fck\u00fclm\u00fc\u015f ve dirsekleri bir W olu\u015fturacak \u015fekilde birbirine de\u011fen bir heykelciktir. Heykelcik ellerinde delikli bir perde tutar: bunun bir hayat a\u011fac\u0131n\u0131 veya y\u0131lan\u0131n t\u00fcy d\u00f6kmesini temsil etti\u011fi d\u00fc\u015f\u00fcn\u00fcl\u00fcr, bu iki sembol yeniden do\u011fu\u015f fikrini temsil eder. Korwar ah\u015faptan, \u00e7ok nadir durumlarda da kire\u00e7ta\u015f\u0131ndan yap\u0131l\u0131r. Ok u\u00e7lu burun korwar tarz\u0131n\u0131n karakteristik \u00f6zelli\u011fidir. Ba\u015flang\u0131\u00e7ta, \u00f6len atan\u0131n t\u00fcm etleri parlat\u0131lm\u0131\u015f kafatas\u0131 heykelin \u00fczerine yerle\u015ftirilirdi. Ancak bir\u00e7ok korvarda sadece kafatas\u0131 tasvir edilmi\u015ftir.<\/p><p><a href=\"#_ftnref99\" name=\"_ftn99\">[99]<\/a><a href=\"https:\/\/www.sciencedirect.com\/science\/article\/pii\/S0305440323001759\"><u> Erken Orta\u00e7a\u011f Orta Avrupa&#8217;s\u0131nda bak\u0131r ala\u015f\u0131ml\u0131 kemer ba\u011flant\u0131 par\u00e7alar\u0131 ve elit a\u011flar\u0131 &#8211; ScienceDirect<\/u><\/a> \/ https:\/\/www.sciencedirect.com\/science\/article\/pii\/S0305440323001759<\/p><p><a href=\"#_ftnref100\" name=\"_ftn100\"><strong>[100]<\/strong><\/a> Ana tanr\u0131\u00e7a Atagey, Arawak k\u00fclt\u00fcr\u00fcn\u00fcn merkezi tanr\u0131s\u0131d\u0131r. Bu foto\u011frafta da g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi torunlar\u0131 hala ona tapmaktad\u0131r. Bu, Porto Riko&#8217;daki Caguana alan\u0131ndaki petroglifin dibinde \u00e7i\u00e7ek sunular\u0131ndan olu\u015fan bir birikinti. MS 8. ve 13. y\u00fczy\u0131llar aras\u0131na tarihlendirilmi\u015ftir.<\/p><p>Atagey, kemikli bir g\u00f6\u011f\u00fcs kafesi ve kapal\u0131 g\u00f6zlerle tasvir edildi\u011fi i\u00e7in ileri ya\u015ftad\u0131r. Kurba\u011fa bacaklar\u0131na benzeyen alt uzuvlar\u0131 canl\u0131l\u0131\u011fa i\u015faret eder. Karn\u0131ndaki dairesel fig\u00fcr, ortas\u0131nda bir nokta ile g\u00f6be\u011fini temsil eder ve cinsiyeti a\u00e7\u0131kt\u0131r, bu da onun bir\u00e7ok \u00e7ocuk do\u011furan bir do\u011furganl\u0131k fig\u00fcr\u00fc oldu\u011funu ima eder. \u00c7\u00f6melmi\u015f pozisyonu g\u00fcc\u00fcn\u00fcn bir i\u015faretidir ve sayg\u0131 gerektirir. Bir kad\u0131n ya da soylu veya g\u00fc\u00e7l\u00fc bir aileden gelen atasal bir fig\u00fcr olabilir. https:\/\/www.instagram.com\/perlesmedievales\/p\/CxqebnlI8Da\/<\/p><p><a href=\"#_ftnref101\" name=\"_ftn101\">[101]<\/a> S\u00fcmerce&#8217;de k\u0131srak i\u00e7in kullan\u0131lan terimin &#8220;kir\/gir&#8221; oldu\u011funu ve &#8220;inek&#8221; i\u00e7in kullan\u0131lan terimle tamamen ayn\u0131 oldu\u011funu hat\u0131rlayal\u0131m. &#8220;The Symbol Bible&#8221; kitab\u0131n\u0131n 3. cildindeki ilgili analizler, k\u0131srak ve ine\u011fin, bo\u011fa ve at gibi, ilk insan \u00e7iftinin sembolik avatarlar\u0131 oldu\u011funu g\u00f6stermektedir. Duvardaki varl\u0131klar\u0131 mistik bir imzadan ba\u015fka bir \u015fey de\u011fildir.<\/p><p><a href=\"#_ftnref102\" name=\"_ftn102\">[102]<\/a> BI\u0307LI\u0307MSEL ZAMAN \u00c7I\u0307ZELGESI\u0307NE I\u0307LI\u0307\u015eKI\u0307N KISA BI\u0307R HATIRLATMA<\/p><p>Bilimsel teoride kabul edilen, Paleolitik ve Neolitik d\u00f6nemleri birbirinden ay\u0131ran zaman \u00e7izgisini unutmayal\u0131m:<\/p><p>Alt Paleolitik: 2 milyon ila 300.00 y\u0131l \u00f6nce<\/p><p>Orta Paleolitik : &#8211; 300.000 ila 40.000 y\u0131l \u00f6nce<\/p><p>\u00dcst Paleolitik: 40.000 ila 9.600 y\u0131l \u00f6nce<\/p><p>Mezolitik: 9.600 ila 6.000 y\u0131l \u00f6nce<\/p><p>Neolitik: 6.000 ila 2.300 y\u0131l \u00f6nce<\/p><p>Bronz \u00c7a\u011f\u0131: 2.300 ila 800 y\u0131l \u00f6nce.<\/p><p>Demir \u00c7a\u011f\u0131: 800 ila 50 y\u0131l \u00f6nce<\/p><p>Ve b\u00f6yle devam eder.<\/p><p>https:\/\/frise-chronologique.inrap.fr\/<\/p><p>\u0130\u015fte \u00dcst Paleolitik \u00c7a\u011f hakk\u0131nda okuduklar\u0131m\u0131z:<\/p><p>\u00dcst Paleolitik d\u00f6nem g\u00fcn\u00fcm\u00fczden yakla\u015f\u0131k 45.000 ila 12.000 y\u0131l \u00f6ncesine kadar uzanmaktad\u0131r. Son buzul \u00e7a\u011f\u0131n\u0131n sona ermesiyle sona erer. Orta Paleolitik&#8217;ten \u00f6nce gelir ve onu Mezolitik takip eder.<\/p><p>\u00dcst Paleolitik \u00c7a\u011f Avrupa&#8217;da, Homo sapiens&#8217;in Yak\u0131n Do\u011fu&#8217;dan g\u00fcneydo\u011fu Avrupa&#8217;ya geli\u015fiyle ba\u015flam\u0131\u015f ve M\u00d6 45.000 y\u0131llar\u0131nda iklimdeki g\u00f6receli iyile\u015fme s\u0131ras\u0131nda Aurignacian k\u00fclt\u00fcr\u00fcn\u00fc de beraberinde getirmi\u015ftir. Bu k\u00fclt\u00fcr Avrupa&#8217;da h\u0131zla yay\u0131lm\u0131\u015f ve M\u00d6 30.000 y\u0131llar\u0131nda Neandertal insan\u0131n\u0131n soyu t\u00fckenene kadar birka\u00e7 bin y\u0131l boyunca birlikte var olmu\u015ftur. Bu noktada, Balkanlar&#8217;dan ikinci bir Homo sapiens dalgas\u0131 gelmi\u015f ve farkl\u0131 bir k\u00fclt\u00fcrle karakterize edilmi\u015ftir: Gravettian.<\/p><p>2018&#8217;de yay\u0131nlanan bir \u00e7al\u0131\u015fmaya g\u00f6re, Avrupa&#8217;da Gravettian d\u00f6nemine kar\u015f\u0131l\u0131k gelen 35.000 ya\u015f\u0131ndan k\u00fc\u00e7\u00fck Homo sapiens fosilleri, beyinsel evrimi a\u015famal\u0131 olarak ger\u00e7ekle\u015fmi\u015f gibi g\u00f6r\u00fcnen daha eski fosillerin aksine, g\u00fcn\u00fcm\u00fcz insan\u0131yla kar\u015f\u0131la\u015ft\u0131r\u0131labilir bir beyinsel geli\u015fim g\u00f6steriyor.<\/p><p>\u00dcst Paleolitik d\u00f6nemde Avrupa&#8217;da ya\u015fam\u0131\u015f olan Cro-Magnon Adam\u0131&#8217;n\u0131n varl\u0131\u011f\u0131, 1868 y\u0131l\u0131nda Dordogne&#8217;daki Les Eyzies-de-Tayac&#8217;ta iskeletlerin arkeolojik olarak ke\u015ffedilmesinin ard\u0131ndan bir zamanlar d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015ft\u00fc. O d\u00f6nemde bilim insanlar\u0131 bunun Sapiens d\u0131\u015f\u0131nda bir t\u00fcr oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyordu. Bug\u00fcn ise bilim insanlar\u0131 bunun ayn\u0131 t\u00fcr oldu\u011funa inan\u0131yor.<\/p><p>\u00dcst Paleolitik de a\u015fa\u011f\u0131daki gibi b\u00f6l\u00fcmlere ayr\u0131lm\u0131\u015ft\u0131r:<\/p><p>\u00a0Uluzzian (47.000 ila 43.000, \u0130talya ve Yunanistan&#8217;da)<\/p><p>Aurignacian (43.000 ila 29.000)<\/p><p>Gravettian d\u00f6nemi (31.000 ila 22.000), &#8220;Ven\u00fcs&#8221; lakapl\u0131, \u00f6zellikle abart\u0131l\u0131 kad\u0131n formlar\u0131na sahip heykelcikleriyle bilinir.<\/p><p>Epigravettian (20.000 ila 10.000, \u0130talya ve Balkanlar&#8217;da)<\/p><p>Solutrean (22.000 ila 17.000, Fransa ve \u0130spanya&#8217;da)<\/p><p>Protomagdaleniyen (20.000 ila 18.000)<\/p><p>Badegoulian (17,000&#8217;den 15,000&#8217;e).<\/p><p>Magdalenian k\u00fclt\u00fcr\u00fc 17.000 ile 14.000 y\u0131llar\u0131 aras\u0131nda geli\u015fmi\u015ftir.<\/p><p>https:\/\/fr.wikipedia.org\/wiki\/Pal\u00e9olithique_sup\u00e9rieur<\/p>\t\t\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 class=\"elementor-element elementor-element-5875e08 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"5875e08\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-9249abf elementor-widget elementor-widget-text-editor\" data-id=\"9249abf\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h2><span style=\"color: #000000;\">B\u0130BL\u0130YOGRAFYA<\/span><\/h2>\n<\/p>\n<p>Her b\u00f6l\u00fcm i\u00e7in dipnotlara bak\u0131n\u0131z<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ac3cac0 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"ac3cac0\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a9c70e6 elementor-widget elementor-widget-text-editor\" data-id=\"a9c70e6\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h2><span style=\"color: #000000;\">BU MAKALE I\u0307LE &#8220;I\u0307NSANLIK DI\u0307NLERI\u0307NI\u0307N GER\u00c7EK TARI\u0307HI\u0307&#8221; ADLI EDEBI\u0307 DI\u0307ZI\u0307NI\u0307N TAMAMI ARASINDAKI\u0307 BA\u011eLANTIYI HATIRLATIR.<\/span><\/h2>\n<\/p>\n<p>Bu makale, yine bu sitede bulunan Volume kitab\u0131ndan al\u0131nt\u0131d\u0131r:<\/p>\n<p>Tarih \u00f6ncesi ve antik mitolojik din sembol\u00fc \u0130ncil<\/p>\n<p>Kitap ayn\u0131 zamanda makale formunda da mevcuttur:<\/p>\n<p><a href=\"https:\/\/www.yvar-bregeant.com\/tr\/semboller-sozlugu\/\">Semboller s\u00f6zl\u00fc\u011f\u00fc<\/a><\/p>\n<p>Bu kitab\u0131n neden \u0130nsanl\u0131k Dinlerinin Ger\u00e7ek Tarihi adl\u0131 edebi dizinin bir par\u00e7as\u0131 oldu\u011funu \u00f6\u011frenmek i\u00e7in \u015fu adrese gidin:<\/p>\n<p><a href=\"https:\/\/www.yvar-bregeant.com\/tr\/giris-yapi-ve-icerik\/\">Giri\u015f \/ Yap\u0131 ve i\u00e7erik<\/a><\/p>\n<p>A\u015fa\u011f\u0131da tamam\u0131na ula\u015fabilece\u011finiz bu makaleyi keyifle okuyaca\u011f\u0131n\u0131z\u0131 umuyorum.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-dcd8cb8 elementor-widget elementor-widget-text-editor\" data-id=\"dcd8cb8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h2><span style=\"color: #000000;\">TELIF HAKKI HATIRLATMASI<\/span><\/h2>\n<p>Bir hat\u0131rlatma olarak, bu kitap tescilli oldu\u011fu i\u00e7in <span style=\"color: #000000;\">l\u00fctfen telif haklar\u0131na sayg\u0131 g\u00f6sterin.<\/span><\/p>\n<p>\u00a9YVAR BREGEANT, 2023 T\u00fcm haklar\u0131 sakl\u0131d\u0131r<\/p>\n<p>Frans\u0131z Fikri M\u00fclkiyet Kanunu, toplu kullan\u0131m i\u00e7in kopyalamalar\u0131 veya \u00e7o\u011faltmalar\u0131 yasaklamaktad\u0131r.<\/p>\n<p>Eser sahibinin veya haleflerinin izni olmaks\u0131z\u0131n herhangi bir i\u015flemle tamamen veya k\u0131smen temsil edilmesi veya \u00e7o\u011falt\u0131lmas\u0131 yasa d\u0131\u015f\u0131d\u0131r ve Frans\u0131z Fikri M\u00fclkiyet Kanunu&#8217;nun L335-2 ve devam\u0131 maddeleri uyar\u0131nca cezaland\u0131r\u0131labilir bir ihlal te\u015fkil eder.<\/p>\n<p>Yazar\u0131n kitaplar\u0131n\u0131 eri\u015filebilir k\u0131lma politikas\u0131na ili\u015fkin b\u00f6l\u00fcm\u00fcn \u00fcst k\u0131sm\u0131ndaki a\u00e7\u0131klamaya bak\u0131n\u0131z: <a href=\"https:\/\/www.yvar-bregeant.com\/tr\/cevrimici-okuyun\/\">\u00c7evrimi\u00e7i okuyun<\/a><\/p>\n\t\t\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":"<p>BU MAKALENI\u0307N AMACI Bu makale, Ana Tanr\u0131\u00e7a ve b\u00fcy\u00fck tanr\u0131lar\u0131n neden \u00e7\u00f6melmi\u015f bir pozisyonda temsil edildi\u011fini anlaman\u0131za yard\u0131mc\u0131 olacakt\u0131r: Ya\u015fayanlar\u0131n d\u00fcnyas\u0131na bereket ve her \u015feyden \u00f6nce \u00f6l\u00fclere yeniden do\u011fu\u015f getirme g\u00fc\u00e7lerine olan inan\u00e7la ba\u011flant\u0131. Bu temsil ile s\u0131v\u0131lar\u0131n sembolik kategorisi aras\u0131ndaki yak\u0131n ba\u011f\u0131 da g\u00f6rece\u011fiz. \u0130\u00e7indekiler tablosu BU MAKALEYI\u0307 &#8220;I\u0307NSANLIK DI\u0307NLERI\u0307NI\u0307N GER\u00c7EK TARI\u0307HI\u0307&#8221; ADLI EDEBI\u0307 [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":14319,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[76,1],"tags":[],"class_list":["post-14435","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cilt-3-mitoloji-sembollerinin-kutsal-kitabi","category-non-classifiee"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>ANA TANRI\u00c7A K\u00dcLT\u00dc VE \u00c7\u00d6MELME POZI\u0307SYONUNDA TEMSI\u0307L EDI\u0307LMESI\u0307NI\u0307N NEDENI\u0307 - Yvar Bregeant<\/title>\n<meta name=\"description\" content=\"Ana tanr\u0131\u00e7an\u0131n neden evrensel ve zamans\u0131z olarak \u00e7\u00f6melmi\u015f bir pozisyonda temsil edildi\u011fini \u00f6\u011frenin\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.yvar-bregeant.com\/tr\/ana-tanrica-kultu-ve-comelme-pozisyonunda-temsil-edilmesinin-nedeni\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ANA TANRI\u00c7A K\u00dcLT\u00dc VE \u00c7\u00d6MELME POZI\u0307SYONUNDA TEMSI\u0307L EDI\u0307LMESI\u0307NI\u0307N NEDENI\u0307 - 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