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Poet Sezai KarakoC CityWide Competition (2022)
In the Art competition named "The Subject of Poet Sezai Karakoç's Life" organized in cooperation with Aydın Provincial Governance and Adnan Menderes University; I was proud to receive an award presented by Aydin Provincial Director of National Education Seyfullah Okumuş.
MEDIA COVERAGE
From Inspiration to Creation: Anisa's Artwork Taking ShapE
Anisa's Artwork from Different Angles
The Step-by-Step Process of Anisa's Artwork
Anisa's Artwork as Refined Decorative Elements
Unveiling Symbolism: Exploring the Meaning Behind Anisa's Artwork
Sezai Karakoc spent his childhood in pomegranate orchards; I drew pomegranates to represent his youth. We can also witness the emphasis on pomegranates in his poems.
"Your hands, hands, and fingers Like crushing a pomegranate flower…." From the Poem "Mona Roza"
The yellow handwritten pages in the background of the painting represent the manuscripts of Sezai Karakoc.
The original cover of Cahit Zarifoğlu's book about the Seven Good Men, Sezai Karakoc, was their guide.
Images of original report cards from Poet's school years in Gaziantep. Documents consist of his father's name Yasin and where he lived is Osmaniye.
A flying white bird. It represents the bird in his poems and Poet's spirit departing to eternity.
In the poem "Birds fly just because to imitate your heart," Mona Roza
The Mysterious Woman in White: Represents the immigrant girl Muazzez Akkaya mentioned in his famous poem Mona Roza.
"Now, acknowledge, accept, and listen to my confession, the girl of the immigrant! " from the poem Mona Roza.
The greenery and the path represent the course of life.
His famous poem "Mona Roza" means "One Rose."
Again, one of his most known poems, "From the Exiled Country to the Capital City,":
"Your eyes
A Window from the Tulip Era
Your hands
From Baki, from Nefi, from Sheikh Galib
Pouring into my lap
Golden Lilac"
A Window from the Tulip Era
Your hands
From Baki, from Nefi, from Sheikh Galib
Pouring into my lap
Golden Lilac"
Karagül means black rose, which grows only in Şanlıurfa, and the black and white rose is mentioned in the Mona Roza poem.
"Oh, it will fall deep into blood because of you
Mona Roza black roses, white roses."
Mona Roza black roses, white roses."
Sezai Karakoc's writings primarily shaped the intellectual terrain in Diriliş Magazine, meaning Resurrection with his name and pseudonyms. The names of seven good men were added to the original cover of Diriliş magazine.
The names of the "Seven Good Men" consists of poets Cahit Zarifoğlu, Erdem Bayazıt, Rasim Özdenören, Nuri Pakdil, Mehmet Akif İnan, Alaeddin Özdenören and Ali Kutlay.
Sezai Karakoc, who defines this life as an exile, appealed to God to end his separation. The Fences of exile and the poem "From the Country of Exile to the Capital City."
"Beloved
Dearest
Oh! My Precious
Don't extend my worldly exile," representing his prayers.
Dearest
Oh! My Precious
Don't extend my worldly exile," representing his prayers.
Forgetting and Remembering (Unutuş Ve Hatırlayış)- This book consists of articles published in the Weekly Diriliş Magazine meaning Resurrection (with the allies name Mehmet Yasinoğlu) between 1988-1991.
Sezai Karakoc's portrait and The colors of the book's cover, "Seven Good Men" were used on his tie.
The Subject of Sezai Karakoc's Life Painting Contest
The protocol was signed to enable high school students to understand the poet Karakoc and his poems, make the poet's works memorable, and depict the emotions he felt. The Governor's Approval has been sent in the appendix. The information and requirements regarding sending it to the Directorate's Strategy Culture unit by the end of the working day on Wednesday, February 16, 2022.
An exhibition will be held where all the works participating in the competition will be displayed. The parties will take part in the organization of the exhibition together. The collection will be held where all the works participating in the competition will be displayed. The parties will take part in the organization of the exhibition together. The students who ranked in the competition, Aydın Adnan Menderes University Faculty of Communication Dean Prof. Dr. Yuksel Yalova, will be rewarded. The parties will jointly share and disseminate images of the works participating in the competition on the media. The parties are jointly responsible for protecting the students' personal information participating in the competition by the legislation.
PARTICIPATION: All high school students in Aydın are welcome to participate.
SUBJECT: The Subject of Sezai Karakoc's Life
Art Requirements
① The works applied for will remain in their original form at the Aydın Provincial Directorate of National Education. The applicant accepts that, together with the application, they have given permission to the Aydın Provincial Directorate of National Education to disseminate their works and launch and share them on digital and physical platforms.
② The works must not have previously participated in any competition and should not have been published or exhibited anywhere.
③ Each student will participate in the competition with one work.
④ The artwork should be no smaller than 35x50 cm and no larger than 50x70 cm.
⑤ The technique is freestyle.
⑥ Participation requests received after the application date will not be accepted, even if the work has been completed.
Who is Sezai KarakoC?
Turkish poet, writer, thinker, and politician January 22, 1933 – November 16, 2021
He completed his education in Ergani, Gaziantep, and Ankara University Faculty of Political Sciences. He started to work as an assistant inspector on January 11, 1956. In 1959, he became a revenue controller in Istanbul. As part of his duty, he toured Anatolia a lot and had the opportunity to examine and get to know many places. After his military service as a reserve officer in 1960-1961, he continued his duty in Istanbul from where he left off.
He founded the journal Diriliş (meaning Resurrection) in Istanbul. He founded the Resurrection Party in 1990. In 2006, the Ministry of Culture and Tourism awarded him the Culture and Art Grand Prize. Karakoç was awarded the Presidential Literature Award in 2011, but he refused to receive this award by rejecting the plaque and money award given to him. On November 16, 2021, he died at his home in Istanbul and was buried in the Şehzadebaşı Mosque.
His poem is classified as metaphysical. Original Turkish poetry is a metaphysical poem in terms of its traditional structure. However, this feature changed after the Tanzimat (the political reforms made in the Ottomans in 1839). There is only a metaphysical shudder in Abdulhak Hamit. This way of thinking started again with him in the republic's first years with Necip Fazıl Kısakürek and Ahmet Kutsi Tecer. Apart from these, a metaphysical understanding is also seen in Yahya Kemal and Asaf Halet Çelebi. However, these characteristics do not explain the poetic knowledge of any of the mentioned poets. Karakoç did this with the language of modern poetry. He is a poet who has studied Western literature as well. He thinks that the abstract in contemporary art is Islamic understanding, and he developed his poems in this direction.
Peer Gynt principles applied to poetry by Sezai Karakoc:
░ The poet must be himself: "The only way for the poet to be himself is to change, to become distinct."
░ The poet must be self-sufficient: "The principle of competence means that the poet takes the seed of his work and the climate that will develop from himself. In other words, we turn the ivory tower out of ourselves; the universe should be an ivory tower for the poet; the poet must be able to find the pigeons he lost at dawn, in an afternoon."
░ The poet should be content with himself: "This means that the work makes the poet tremble with joy. The poet should treasure his own work. He should caress about it but not condone his mischievousness. He should tell about his dislikes without offending, persuade himself to correct himself, and make-believe. The basis of the satisfaction principle is joy and the "joy of living."
░ The poet must be self-sufficient: "The principle of competence means that the poet takes the seed of his work and the climate that will develop from himself. In other words, we turn the ivory tower out of ourselves; the universe should be an ivory tower for the poet; the poet must be able to find the pigeons he lost at dawn, in an afternoon."
░ The poet should be content with himself: "This means that the work makes the poet tremble with joy. The poet should treasure his own work. He should caress about it but not condone his mischievousness. He should tell about his dislikes without offending, persuade himself to correct himself, and make-believe. The basis of the satisfaction principle is joy and the "joy of living."
WORKS Poems: Poems I (Mona Roza), Poems II (Shahdamar-Gulf-Sounds), Poems III (Forty Hours with Hizir), Poems IV (Taha's Book, Rose Good News), Poems V (Words Dedicated to Time), Poems VI ( Rites/Fountains), Poems VII (Leylâ and Mecnun), Poems VIII (Fire Dance), Poems IX (Time of Destiny), Before Sunrise (Collective Poems)
Translated Poetry: From Western Poems, Poetry Monuments of Islam
Essay: Literary Writings I Dream of Civilization, Civilization of Dreams Poetry, Literary Writings II The Dice of Our Teeth, Literary Writings III Oblique Ehrams
Thought Works: Resurrection of the Spirit, Vaccine of Doomsday, Age, and Inspiration I-II-III-IV, Resurrection of Humanity, Creed of the Resurrection Generation, Paradise Lost, Resurrection of Islam, Solstice, Resurrection Mushtu, Islam, Economic Structure of Islamic Society, Thoughts I-II, Around the Resurrection, Metaphysical Horizons and Beyond I-II-III, Building Blocks and the Call of Our Destiny I-II, Feast in the Milky Way, Forgetting and Remembering, Existential War, Way Out of Contemporary Western Thought I-II-III
Analysis: Yunus Emre, Mehmet Akif, Mevlana
Theatre: Plays I, Gift
The Story: When Stories-I Arises, Stories-II Portraits
Journal articles: Differences, Column, Wall, Time of Day, Gur
Interviews: At the Crossroads of History, Forgetting and Remembering, Way Out I, Way Out II, Way Out III
Documentary: Before Sunrise
Translated Poetry: From Western Poems, Poetry Monuments of Islam
Essay: Literary Writings I Dream of Civilization, Civilization of Dreams Poetry, Literary Writings II The Dice of Our Teeth, Literary Writings III Oblique Ehrams
Thought Works: Resurrection of the Spirit, Vaccine of Doomsday, Age, and Inspiration I-II-III-IV, Resurrection of Humanity, Creed of the Resurrection Generation, Paradise Lost, Resurrection of Islam, Solstice, Resurrection Mushtu, Islam, Economic Structure of Islamic Society, Thoughts I-II, Around the Resurrection, Metaphysical Horizons and Beyond I-II-III, Building Blocks and the Call of Our Destiny I-II, Feast in the Milky Way, Forgetting and Remembering, Existential War, Way Out of Contemporary Western Thought I-II-III
Analysis: Yunus Emre, Mehmet Akif, Mevlana
Theatre: Plays I, Gift
The Story: When Stories-I Arises, Stories-II Portraits
Journal articles: Differences, Column, Wall, Time of Day, Gur
Interviews: At the Crossroads of History, Forgetting and Remembering, Way Out I, Way Out II, Way Out III
Documentary: Before Sunrise
Celebrating the Legacy of Sezai Karakoç through Anisa Ozalp’s Award-winning Art
In the citywide "Subject of Poet Sezai Karakoc's Life" art competition, organized in cooperation with Aydın Provincial Governance and Adnan Menderes University, renowned artist Anisa Ozalp emerged triumphant, her work brilliantly illuminating the life and contributions of the acclaimed Turkish poet, Sezai Karakoç.
Anisa's award-winning design is layered with meaning, each element thoughtfully chosen to reflect Karakoc's life, work, and impact on Turkish literature. The pomegranates represent his youth spent in orchards; the yellow handwritten pages symbolize his invaluable manuscripts and the mysterious woman in white symbolizes the immigrant girl from his renowned poem, Mona Roza. From the vibrant green path illustrating life's course to the black and white roses from his famous Mona Roza poem, each detail in Anisa's piece tells a story of Sezai Karakoç's profound journey and his metaphysical influence on Turkish literature.
The competition aimed to encourage high school students to delve deeper into Sezai Karakoç's life and works, enabling them to create art that resonates with the emotions he captured in his poetry. These students, guided by the specifications and requirements of the competition, presented their understanding of Karakoç's life through their unique creative lenses.
The legacy of Sezai Karakoc, the eminent Turkish poet, writer, thinker, and politician, continues to inspire generations. His metaphysical poetry has shaped Turkish literature and drawn worldwide admiration for its profound depth and meaning. Karakoç's life and works are an intricate tapestry of inspirations, beautifully brought to life through Anisa Ozalp's artistic prowess.
You can explore her portfolio on her website for more insights into Sezai Karakoç's life and work and to appreciate Anisa Ozalp's award-winning piece. This award is a testament to Anisa Ozalp's artistry and ability to infuse deep cultural and personal narratives into her work.
I was first exiled from Your heart,
and in truth every exile originated in it.
Outside all ceremonies, all feasts, all rites and holiness,
I came to You; I came to fall at Your feet.
I came for forgiveness, though I may not deserve it.
Do not prolong my exile.
and in truth every exile originated in it.
Outside all ceremonies, all feasts, all rites and holiness,
I came to You; I came to fall at Your feet.
I came for forgiveness, though I may not deserve it.
Do not prolong my exile.
You tore the sun from spring
and, like a cloud of salt,
cast it into my heart.
Ah, do not prolong my exile.
You can read my weariness not in my worn shoes
but in my feet.
and, like a cloud of salt,
cast it into my heart.
Ah, do not prolong my exile.
You can read my weariness not in my worn shoes
but in my feet.
The lamps are crooked.
The mirrors keep the scorpion’s angel.
Time is the last vivid dream of a stricken horse.
A house is not an inheritance, only the ghost of it.
O You whom my heart has borne,
has raised and nursed,
on the down of birds
and the crop milk of mother birds,
whom it lifted like a monument for humankind
through nights and days,
Beloved,
most beloved,
O Beloved,
do not prolong my exile.
The mirrors keep the scorpion’s angel.
Time is the last vivid dream of a stricken horse.
A house is not an inheritance, only the ghost of it.
O You whom my heart has borne,
has raised and nursed,
on the down of birds
and the crop milk of mother birds,
whom it lifted like a monument for humankind
through nights and days,
Beloved,
most beloved,
O Beloved,
do not prolong my exile.
It was always You in every poem I spoke.
If I said “Suna,” it was You; if I said “Leyla,” it was You.
To hide You I borrowed Your semblances—
Salome’s and Belkıs’s.
It was in vain that I tried to hide You, so manifest, so clear.
Birds grow wings to imitate Your heart.
Spring gathers its flowers from Your hands.
The oceans learn eternity from Your eyes.
O softest and deepest of hearts,
Beloved, most beloved, O Beloved,
do not prolong my exile.
If I said “Suna,” it was You; if I said “Leyla,” it was You.
To hide You I borrowed Your semblances—
Salome’s and Belkıs’s.
It was in vain that I tried to hide You, so manifest, so clear.
Birds grow wings to imitate Your heart.
Spring gathers its flowers from Your hands.
The oceans learn eternity from Your eyes.
O softest and deepest of hearts,
Beloved, most beloved, O Beloved,
do not prolong my exile.
Years passed; the sling left an immortal mark upon the earth.
Reaching toward the stars, I asked for You at midnight,
in attics and basements.
Your shadow was the matchless lamp of my nights, enlightening me.
Always in Kanlıca, in Emirgân,
in the leaden dawns of Kandilli,
I kept speaking with You through the spring and summer of a life.
Now, as its autumn arrives all at once,
I come to You; I come to fall at Your feet.
I come for forgiveness, though I may not deserve it.
O contemporary Jerusalem (Mary),
O Egypt (Zuleikha), who carries her poem in her heart,
O heart of mercy that lends softness to silk,
Beloved, most beloved, O Beloved,
do not prolong my exile.
Reaching toward the stars, I asked for You at midnight,
in attics and basements.
Your shadow was the matchless lamp of my nights, enlightening me.
Always in Kanlıca, in Emirgân,
in the leaden dawns of Kandilli,
I kept speaking with You through the spring and summer of a life.
Now, as its autumn arrives all at once,
I come to You; I come to fall at Your feet.
I come for forgiveness, though I may not deserve it.
O contemporary Jerusalem (Mary),
O Egypt (Zuleikha), who carries her poem in her heart,
O heart of mercy that lends softness to silk,
Beloved, most beloved, O Beloved,
do not prolong my exile.
I saw mountains collapse in a goblet of Venus.
I was sold like a slave on the auction blocks.
I watched the sun grow pale upon Constantine’s walls.
I burned within Your visions at the threshold of dreams;
Your shadow kept returning in the spring of living water.
Now, as the thought of death circles me,
fearing the answers I have not rendered,
I come to You; I come to fall at Your feet.
I come for forgiveness, though I may not deserve it.
Beloved, most beloved, O Beloved,
do not prolong my exile.
I was sold like a slave on the auction blocks.
I watched the sun grow pale upon Constantine’s walls.
I burned within Your visions at the threshold of dreams;
Your shadow kept returning in the spring of living water.
Now, as the thought of death circles me,
fearing the answers I have not rendered,
I come to You; I come to fall at Your feet.
I come for forgiveness, though I may not deserve it.
Beloved, most beloved, O Beloved,
do not prolong my exile.
Any news from the birds of Your country?
There is a spring that rises even from graves.
What of the executioner of love, so long as the Beloved remains?
Beyond non-being and being there is the One who Is.
Not all the fault is mine; there is a glance that burns and lays me waste.
There are lines that long to be sung to that song.
Say not “fate”; above fate there is more.
Whatever they do is vain; a decree descends from the skies.
So what if the day sets; there is an architect who mends the night.
If I am burned, a fortress can be built from my ash.
There is a victory that grows, defeat by defeat.
To reach the secret of secrets, in You there is a key.
In Your breast a vein runs that calls the exile home.
I do not lose hope in You; in Your heart stands a mercy tree.
Beloved,
most beloved,
O Beloved.
There is a spring that rises even from graves.
What of the executioner of love, so long as the Beloved remains?
Beyond non-being and being there is the One who Is.
Not all the fault is mine; there is a glance that burns and lays me waste.
There are lines that long to be sung to that song.
Say not “fate”; above fate there is more.
Whatever they do is vain; a decree descends from the skies.
So what if the day sets; there is an architect who mends the night.
If I am burned, a fortress can be built from my ash.
There is a victory that grows, defeat by defeat.
To reach the secret of secrets, in You there is a key.
In Your breast a vein runs that calls the exile home.
I do not lose hope in You; in Your heart stands a mercy tree.
Beloved,
most beloved,
O Beloved.
COMMISSION
Should the artwork inspired by Karakoc spark your interest, and you're considering commissioning Anisa for a bespoke creation, feel free to reach out to her directly. Additionally, for an in-depth look into her creative process, you're invited to explore her YouTube channel, where she regularly posts design videos.
