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M\u0130JEY Mihail Kafkasl\u0131lar\u0131n giysilerinin her birinin gerek i\u015flemecilik gerekse g\u00f6rsel zenginlik a\u00e7\u0131s\u0131ndan sanat yap\u0131t\u0131 oldu\u011funu s\u00f6ylemek abart\u0131l\u0131 olmaz. Hazar Denizi’nden Karadeniz’e kadar uzanan Kuzey Kafkasya, d\u00fcnyada dillerin ve leh\u00e7elerin en yo\u011fun oldu\u011fu bir y\u00f6redir. Burada ya\u015fayan halklar ortak bir k\u00fclt\u00fcr\u00fc payla\u015f\u0131r. Erkeklerin eskiden g\u00fcnl\u00fck, \u015fimdilerde ise sahne ve t\u00f6ren giysisi olan \u00c7erkeska bu ortakl\u0131\u011f\u0131n simgesidir. Kad\u0131n elbiseleri kapal\u0131d\u0131r ama dekoratiftir. 1925-1926 y\u0131llar\u0131nda etnograf B.A. Kuftin Kuzey Kafkas giysilerinden olu\u015fan zengin bir koleksiyonu Sovyetler Birli\u011fi Halklar\u0131 M\u00fczesi’ne teslim etmi\u015ftir. Bu giysiler 1948’de Devlet Etnografya M\u00fczesi’ne aktar\u0131larak korumaya al\u0131nm\u0131\u015ft\u0131r.<\/p>\n \u00c7ar’\u0131n imrendi\u011fi elbiseler<\/p>\n Kafkasya’daki Kuban ve Elbruz b\u00f6lgelerindeki arkeolojik bulgular aras\u0131nda \u00e7\u0131kan ta\u015flardan kabartma ve oymalar, duvarlara \u00e7izilmi\u015f erkek ve kad\u0131n fig\u00fcrleri; mezarlar ve kurganlarda yap\u0131lan incelemeler Kafkas giysilerinin ilk bi\u00e7imini M\u00d6. 5.y\u00fczy\u0131lda almaya ba\u015flad\u0131\u011f\u0131n\u0131, MS. 19.y\u00fczy\u0131lda ise geli\u015fimini tamamlad\u0131\u011f\u0131n\u0131 g\u00f6steriyor.<\/p>\n Ya\u015famlar\u0131n\u0131 da\u011flarda ve da\u011f yama\u00e7lar\u0131nda s\u00fcrd\u00fcren bu insanlar\u0131n giysilerindeki en \u00f6nemli \u00f6zellik yal\u0131n ve kullan\u0131\u015fl\u0131 olmas\u0131d\u0131r. Bak\u0131ld\u0131\u011f\u0131nda farkl\u0131l\u0131k g\u00f6ze \u00e7arpmamaktad\u0131r. Giysiler sahip olduklar\u0131 bu fonksiyonel ciddiyetin \u00f6tesinde v\u00fccudu da d\u00fczg\u00fcn g\u00f6stermekte, hareketlere do\u011fall\u0131k ve \u00f6zg\u00fcrl\u00fck kazand\u0131rmaktad\u0131r. Bu nedenlerle Kafkas elbisesinin benzerleri 19.y\u00fczy\u0131lda Rusya’da Kazak k\u00f6kenli s\u00fcvarilere \u00c7ar taraf\u0131ndan askeri \u00fcniforma olarak giydirilmi\u015ftir.<\/p>\n Erkekler Zarif ve Ciddi Giyinirdi<\/p>\n Erkekler ev ya\u015fam\u0131nda i\u00e7 g\u00f6mlek, pantolon ve be\u015fmetten (g\u00f6mlek) olu\u015fan yal\u0131n giysileri, d\u0131\u015far\u0131da ise \u00fczerine “\u00c7erkeska”, kalpak ve yumu\u015fak \u00e7izme giyerlerdi.<\/p>\n \u00c7erkaska’n\u0131n \u00f6yk\u00fcs\u00fc<\/strong><\/p>\n 1917 Sovyet \u0130htilali’nden \u00f6nceki \u00c7arl\u0131k d\u00f6neminde Kafkas erkeklerinin, bel k\u0131sm\u0131na kama tak\u0131lan “\u00c7erkeska” adl\u0131 ulusal giysilerini g\u00fcnl\u00fck ya\u015famlar\u0131nda giymeleri y\u00fczlerce y\u0131l \u00f6ncesinden gelen bir t\u00f6reydi. Devrimden sonra getirilen yeni yasalarda ate\u015fli ve ate\u015fsiz silah ta\u015f\u0131mak yasakland\u0131. Kamas\u0131z olamayaca\u011f\u0131 i\u00e7in \u00c7erkeska da g\u00fcnl\u00fck ya\u015fant\u0131dan \u00e7\u0131kt\u0131. Yaln\u0131zca g\u00f6steri ve t\u00f6renlerde g\u00f6r\u00fcl\u00fcr oldu.<\/p>\n Ara\u015ft\u0131rmalar \u00c7erkeska’n\u0131n ilk a\u015famalarda el tezgahlar\u0131nda \u00fcretilmi\u015f ev \u00e7uhas\u0131ndan yap\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6stermektedir. Bu d\u00f6nemde kollar ana par\u00e7aya do\u011fru a\u00e7\u0131 olu\u015fturacak bi\u00e7imde, koltukalt\u0131 k\u0131sm\u0131nda hareketi engellemeyecek \u015fekilde dikilir, \u00c7erkeska’n\u0131n \u00f6n ve arkas\u0131 tek par\u00e7a kuma\u015ftan, dizin epey alt\u0131na kadar uzun yap\u0131l\u0131rd\u0131. Giysi v\u00fccudu bele kadar tamamen sarmaktayd\u0131. Belden a\u015fa\u011f\u0131 k\u0131s\u0131mlar\u0131n hareketini k\u0131s\u0131tlamayacak ve do\u011fall\u0131k kazand\u0131racak bir etek \u015feklinde yap\u0131lm\u0131\u015ft\u0131. Da\u011fl\u0131lar 18. y\u00fczy\u0131ldan ba\u015flayarak barutluklar (haz\u0131r) kullanmaya ba\u015flam\u0131\u015ft\u0131. \u0130lk \u00f6nce bele tak\u0131lan barutluklar, at\u0131\u015f s\u0131ras\u0131ndaki kullan\u0131\u015fs\u0131zl\u0131\u011f\u0131 nedeniyle g\u00f6\u011fse tak\u0131lmaya ba\u015flam\u0131\u015f ve b\u00f6ylece \u00c7erkeska’n\u0131n olu\u015fumu tamamlanm\u0131\u015ft\u0131. 19. y\u00fczy\u0131lda sonlar\u0131nda art\u0131k son bi\u00e7imini alan \u00c7erkeska’n\u0131n “haz\u0131r”lar\u0131 da i\u00e7i t\u00fcfek mermisi alacak \u015fekilde ceplere yerle\u015ftirilen sert ve dayan\u0131kl\u0131 a\u011fa\u00e7lardan yap\u0131lm\u0131\u015ft\u0131r. \u00dczeri alt\u0131n, g\u00fcm\u00fc\u015f ya da kemik kapaklarla s\u00fcslenerek giysiye \u00f6zg\u00fcnl\u00fck kazand\u0131r\u0131lm\u0131\u015ft\u0131r.<\/p>\n Bug\u00fcnk\u00fc \u015fekline 18. y\u00fczy\u0131l ortalar\u0131nda kavu\u015fmaya ba\u015flad\u0131\u011f\u0131 san\u0131l\u0131yor. \u0130klim, t\u00f6re ve zamana g\u00f6re \u00e7e\u015fitlilik g\u00f6steriyor. \u00c7e\u00e7en-\u0130ngu\u015f ve Da\u011f\u0131stanl\u0131larda geni\u015f uzun t\u00fcyl\u00fc ve y\u00fcksek bi\u00e7imlidir. 19. y\u00fczy\u0131l sonlar\u0131nda bat\u0131da Adige ve Abhazlardan b\u00fct\u00fcn Kafkasya’ya yay\u0131lan k\u0131sa t\u00fcyl\u00fc, zarif bi\u00e7imli “Kubanka” g\u00fcn\u00fcm\u00fcze kadar gelmi\u015ftir.<\/p>\n Andi’nin zarif yam\u00e7\u0131lar\u0131<\/strong><\/p>\n \u0130lk \u00e7\u0131k\u0131\u015f yeri ve zaman\u0131 kesin olarak bilinmemekle beraber Rusya ve Kafkasya’da en zarif en g\u00fczel yam\u00e7\u0131 Da\u011f\u0131stan’\u0131n en da\u011fl\u0131k y\u00f6relerinden olan Andi b\u00f6lgesi civar\u0131nda \u00fcretilir. Toprak ve hayvanc\u0131l\u0131kla u\u011fra\u015fan Kafkasyal\u0131lar\u0131n yam\u00e7\u0131y\u0131 hava de\u011fi\u015fikliklerinden korumak, r\u00fczgar, ya\u011fmur ve toza kar\u015f\u0131 kulland\u0131klar\u0131 biliniyor.Yam\u00e7\u0131 binicinin yan\u0131 s\u0131ra at\u0131 da korur. \u00d6zellikle ke\u00e7i k\u0131llar\u0131ndan d\u00f6v\u00fclerek yap\u0131l\u0131r. Genellikle siyah olur. D\u0131\u015f k\u0131sm\u0131ndaki k\u0131llar do\u011fal haliyle b\u0131rak\u0131l\u0131rken i\u00e7i ke\u00e7ele\u015ftirilir. Pelerin bi\u00e7iminde topuklara kadar uzun yap\u0131l\u0131r. Boyun k\u0131sm\u0131nda g\u00fcm\u00fc\u015ften yap\u0131lan tutturucular vard\u0131r.<\/p>\n Terbiye edilen \u00e7izmeler<\/p>\n G\u00fcnl\u00fck olarak i\u015f yap\u0131l\u0131rken, bo\u011fa derisinden elde terbiye edilerek yap\u0131lan kal\u0131n ve sert bir ayakkab\u0131 giyilirdi. Aya\u011f\u0131 vurmamas\u0131 i\u00e7in i\u00e7i ot doldurulurdu. Ayak bile\u011fine kadar yap\u0131lan bu ayakkab\u0131 \u00e7ar\u0131\u011fa benzer, bile\u011fe ve baca\u011fa alt\u0131ndan dola\u015ft\u0131klar\u0131 kay\u0131\u015flarla ba\u011flan\u0131rd\u0131. 19. y\u00fczy\u0131lda Rus Edebiyat\u0131\u2019na giren “Kafkas \u00e7izmesi” yumu\u015fak olup, ayak parmaklar\u0131n\u0131 s\u0131kmazd\u0131 ve siyah deriden yap\u0131l\u0131rd\u0131. Tabanlar\u0131 bazen yumu\u015fak k\u00f6seleden olurdu.<\/p>\n Kaman\u0131n kalitesi gurur konusuydu<\/strong><\/p>\n Da\u011fl\u0131 giysisini tamamlayan en \u00f6nemli aksesuar ku\u015fkusuz bele \u00f6zel bi\u00e7imde tak\u0131lan “kama” d\u0131r. Kafkasyal\u0131 i\u00e7in esteti\u011fi ve kalitesi gurur konusudur. Sap\u0131 alt\u0131n, g\u00fcm\u00fc\u015f i\u015flemeli olup, her iki yan\u0131 keskindir. K\u0131n s\u00fcslemeleri apayr\u0131 bir g\u00fczelliktedir. Kafkas kamas\u0131 ve k\u0131l\u0131c\u0131 d\u00fcnyan\u0131n \u00e7e\u015fitli m\u00fczelerinde yerini alm\u0131\u015ft\u0131r.<\/p>\n Bele s\u0131k\u0131ca ba\u011flanan kemerin birka\u00e7 i\u015flevi vard\u0131r. Kemere tak\u0131lan toka ve \u00e7engellere barutluk, k\u0131l\u0131\u00e7 ve ya\u011fdanl\u0131k as\u0131l\u0131rd\u0131. Kama ise g\u00f6be\u011fin hemen alt\u0131ndaki kemerin orta tokas\u0131na sap\u0131 ile k\u0131n\u0131n\u0131n birle\u015fti\u011fi noktadan s\u0131k\u0131ca ba\u011flan\u0131rd\u0131<\/p>\n \u00c7obanlar\u0131n ayr\u0131lmaz par\u00e7as\u0131 ba\u015fl\u0131klar (\u015earkhon)<\/p>\n Siyah, kemik rengi, kahverengi ya da griye \u00e7alan renkli \u00e7uha ya da \u00f6zel olarak deve t\u00fcy\u00fcnden yap\u0131l\u0131r. Ba\u015f\u0131 ya\u011f\u0131\u015f ve r\u00fczgardan korur. Haz\u0131r durumda iken \u00fc\u00e7gen bi\u00e7iminde, kenarlar\u0131 uzun su-i\u015fi, kurdele, kaytan ya da sim s\u0131rma i\u015flidir. Da\u011flardaki \u00e7obanlar\u0131n devaml\u0131 yan\u0131ndad\u0131r.<\/p>\n Kad\u0131nlar\u0131n Zarafet Se\u00e7imi<\/p>\n Kafkas kad\u0131n giysileri d\u0131\u015f g\u00f6r\u00fcn\u00fc\u015fleri ile tam bir zarafet ve asalet \u00f6rne\u011fidir. Bi\u00e7imi y\u00fczy\u0131llarca bozulmadan korunabilmi\u015ftir. Da\u011fl\u0131 kad\u0131nlar giyimlerine \u00f6zen g\u00f6sterir ve v\u00fccutlar\u0131n\u0131 korurlar. K\u00fc\u00e7\u00fck ya\u015flardan ba\u015flayarak ince belli ve dik orant\u0131l\u0131 v\u00fccutlar\u0131n\u0131 korumaya \u00e7al\u0131\u015f\u0131rlar.<\/p>\n G\u00f6znuru kaftanlar<\/p>\n V\u00fccudun \u00fcst b\u00f6l\u00fcm\u00fcne tam oturan bu giysi, bele tak\u0131lan kemerin a\u015fa\u011f\u0131s\u0131nda \u00f6nden a\u00e7\u0131k ve yere kadar uzun dikilir. Giyside olu\u015fturulan m\u00fckemmel kompozisyonda, g\u00f6\u011f\u00fcsteki \u00fc\u00e7gen \u015feklindeki a\u00e7\u0131kl\u0131ktan g\u00fcm\u00fc\u015f, alt\u0131n ya da pirin\u00e7ten yap\u0131lm\u0131\u015f maden d\u00fc\u011fmeler, kemerin a\u015fa\u011f\u0131s\u0131ndaki a\u00e7\u0131kl\u0131ktan ise i\u00e7lik g\u00f6r\u00fcnmektedir. Kaftanlar genellikle koyu vi\u015fne, k\u0131rm\u0131z\u0131, koyu mavi, koyu ye\u015fil, siyah kadife, ipek ya da atlas gibi kuma\u015flardan dikilir.<\/p>\n \u00dczerlerinde omuz ve kemer alt\u0131ndan ba\u015flayarak etek u\u00e7lar\u0131na kadar uzanan alt\u0131n, g\u00fcm\u00fc\u015f s\u0131rma \u015feritlerle bezenmi\u015f motifli s\u00fcsler bulunur. Kol yanlar\u0131 \u00e7ok de\u011fi\u015fik modellerle yap\u0131l\u0131r. \u00dczerindeki s\u00fcslemeler alt\u0131n, g\u00fcm\u00fc\u015f simlidir.<\/p>\n Kaftan\u0131n bel alt\u0131ndaki k\u0131sm\u0131n\u0131n geni\u015f ve yere kadar, kollar\u0131n\u0131n bol ve uzun olu\u015fu rahatl\u0131k, zenginlik ve soylulu\u011fu simgeler. Da\u011fl\u0131 kad\u0131nlar\u0131n giysileri sosyal ya\u015fant\u0131lar\u0131n\u0131n i\u00e7ine girmi\u015f olan terzilik h\u00fcnerlerinin birer \u00fcr\u00fcn\u00fcd\u00fcr. Diki\u015f tekni\u011fi \u00fcst\u00fcn beceri, s\u00fcslemeleri g\u00f6znuru, alt\u0131n g\u00fcm\u00fc\u015f i\u015flemecili\u011fi sanat \u00fcr\u00fcn\u00fcd\u00fcr.<\/p>\n Bu denli de\u011ferli giysiler ku\u015faktan ku\u015fa\u011fa saklanmak yoluyla aktar\u0131l\u0131r ve halk aras\u0131nda kimde nas\u0131l bir giysi oldu\u011fu bilinir. \u0130\u00e7likler ise kaftan\u0131n i\u00e7ine giyilir ve uzun ya da k\u0131sa kollu olabilir. Yuvarlar dik yakal\u0131d\u0131r. Kaftan\u0131n alt\u0131ndan \u00fc\u00e7gen \u015feklinde g\u00f6r\u00fcnen g\u00f6\u011f\u00fcs k\u0131sm\u0131nda alt\u0131n, g\u00fcm\u00fc\u015f vb. madeni d\u00fc\u011fmeler vard\u0131r. \u0130ki ya da tek par\u00e7a olabilir. \u0130ki par\u00e7al\u0131 olan bluz, tek par\u00e7a olan\u0131 ise kaftan bi\u00e7iminde olabilir; ancak \u00f6n\u00fc kapal\u0131 olur. \u0130\u00e7li\u011finde belin alt\u0131nda, kaftan\u0131n a\u00e7\u0131kl\u0131\u011f\u0131ndan g\u00f6r\u00fcnen k\u0131sm\u0131 alt\u0131n g\u00fcm\u00fc\u015f sim s\u0131rma i\u015flemelidir ve yere kadar kaftan boyunca uzan\u0131r.<\/p>\n S\u00fcslemecilik harikas\u0131 kemerler ve kepler<\/strong><\/p>\n Kaftan \u00fczerine tak\u0131lan kemer Kafkas s\u00fcslemecili\u011finin bir harikas\u0131d\u0131r. Bele s\u0131k\u0131ca tak\u0131lan kemerin \u00e7ok de\u011fi\u015fik modelleri vard\u0131r.<\/p>\n Keplerin ise de\u011fi\u015fik bi\u00e7imleri vard\u0131r. \u00dczeri alt\u0131n g\u00fcm\u00fc\u015f sim s\u0131rma ve inci i\u015flemelidir. Ba\u015fa dik olarak giyilir. De\u011fi\u015fik renkli ama genellikle beyaz ipek kuma\u015flardan olur. \u0130\u00e7leri sa\u00e7akl\u0131d\u0131r. MİJEY Mihail Çeviri: Ergun Yıldız Adige Psalse Gazetesi, 12 Mayıs 2001 Kafkaslıların giysilerinin her birinin gerek işlemecilik gerekse görsel zenginlik açısından sanat yapıtı olduğunu söylemek abartılı olmaz. Hazar Denizi’nden Karadeniz’e kadar uzanan Kuzey Kafkasya, dünyada dillerin ve lehçelerin en yoğun olduğu bir yöredir. Burada yaşayan halklar ortak bir kültürü paylaşır. Erkeklerin eskiden günlük, şimdilerde ise […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"off","ocean_gallery_id":[],"footnotes":""},"categories":[45],"tags":[],"class_list":["post-7514","post","type-post","status-publish","format-standard","hentry","category-kultur-ana-sayfa","entry"],"_links":{"self":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/7514","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/comments?post=7514"}],"version-history":[{"count":4,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/7514\/revisions"}],"predecessor-version":[{"id":39529,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/7514\/revisions\/39529"}],"wp:attachment":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/media?parent=7514"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/categories?post=7514"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/tags?post=7514"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/strong>\u00c7eviri: Ergun Y\u0131ld\u0131z
\nAdige Psalse Gazetesi, 12 May\u0131s 2001<\/p>\n\n
\n Kaynak\u00e7a<\/strong>
\n1) <\/strong>Musa Ramazan, Tekin Ko\u00e7kar – Kafkas Halk Danslar\u0131, \u0130stanbul: \u015eamil E\u011fitim ve K\u00fclt\u00fcr Vakf\u0131 Yay\u0131n\u0131, 1988.<\/p>\n","protected":false},"excerpt":{"rendered":"