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İvan Pavloviç Sereda
İvan Pavloviç Sereda (Rusça: Ива́н Па́влович Середа́,Ukraynaca: Іва́н Па́влович Середа́, 1919-1950) Sovyet teğmen, aşçı ve Sovyetler Birliği Savaş Kahramanı. Dvinsk bölgesindeki başarıları ile dikkatleri üzerine çekti.1945 yılında terhis edildikten sonra Donetsk bölgesinin Aleksandrovka köyünde köy konseyi başkanı olarak çalıştı.[1]
Yaşamı[değiştir kaynağı değiştir]
1 Temmuz 1919'da Kramatorsk şehrinin parçası olan Aleksandrovka köyünde bir köylü ailenin çocuğu olarak doğdu. Ailesiyle birlikte Galitsinovka'a taşındı. Lisede okurken okuldan ayrılıp Donetsk Yemek Eğitim Merkezine katıldı. Kasım 1939'da Kızıl Ordu'ya alındı. Askeri eğitiminin ardından 21. Mekanize Kolordusu, 91. Tank Alayı, 46. Tank tümenine aşçı olarak atandı.
Barborossa Harekâtı'nın ikinci haftasında Sereda'nın görev aldığı 21. Mekanize Kolordusu Manstein'ın yönettiği Alman 56. Kolordusu'nun ile yaptığı çatışmalar sonucunda 26 Haziranda Alman birlikleri Dvisnk'i ele geçirdi. Ağustos 1941'De Dvinsk şehri yakınlarında Sereda mutfakta tek başına akşam yemeği hazırlar iken 3 tane Alman tankının geldiğini fark etti. Ahıra koşup atları sakladı ve balta alıp mutfağının arkasına saklandı. Bölgenin terk edilmiş olduğu izlenimini verdiği için 2 tank ilerlemeye devam etmiş olsa da bir Alman tankı mutfağın yanında durdu. Alman askerleri tanktan dışarı çıkınca Sereda elindeki balta ile Alman askerlerinin üzerine doğru koştu. Alman askerleri tekrardan tanka girdi ve Sereda'ya makineli tüfek ile ateş etmeye çalıştı. Tankın üzerine çıkmış Sereda, tüfeğin namlusunu balta ile büktü ve ardından sürücü ve tank komutanının gözetleme deliklerini kapadı. Almanların etrafının çevrildiği izlenimini vermek için tanka bomba atmalarını emrederken balta ile tanka vurmaya başladı. Etrafının Kızıl Ordu tarafından çevrildiğini sanan 4 Alman askeri dışarı çıktı ve Sereda onları birbirine bağlattı.[2] 21. mekanize kolordu komutanı Tümgeneral D. D. Lelyuşenko'ya göre Sereda "cesur davranışıyla olağanüstü bir kahramanlık örneği göstermiştir".[3]
Daha sonra Sereda keşif birliğine atandı. Bir keşifi sırasında 2 Alman tankı ile karşılaştı. Tanklar durunca bir tanesini sürünerek birkaç el bombası ile havaya uçurdu. Bu olaydan sonra İvan Pavloviç Sereda 4. Piyade Alay Komutanlığında takım komutanlığına atandı ve Leningrad Savunması'na katıldı. Ardından Moskova Savunmasına katıldı. Şubat 1942'de ağır yaralandı. 1945'te üstteğmen rütbesiyle terhis edildi. Donetsk bölgesindeki Aleksandrovka köyünde köy meclisi başkanı olarak çalıştı. Savaşta aldığı yaralar yüzünden sağlığı gittikçe kötüyen giden Sereda, 18 Kasım 1950 tarihinde öldü. Asker arkadaşı Bezvitelnov'un anılarına göre Sereda'nın kullandığı balta birimde anı olarak saklandı. Ivan Sereda'nın başarısı savaş yıllarında geniş çapta popüler hale geldi ve Sovyet propaganda afişlerine yansıdı. Daha sonralarında "Aşçı Sereda'nın" bir efsane olduğu hakkında iddialar çıktı fakat İvan Pavloviç Sereda'nın gerçekliği ve başarısı belgelerle kanıtlandı.[4]
Madalyaları[değiştir The human figure statues of Gokturk period
Öz: Gokturks, who established an empire in the wide geography of Middle Asia, between the 6th-8th centuries, are politically and culturally accepted as the continuation of the Huns, who lived in the same region. Having started in the Middle Asian geography during the era of the Huns, the developments of building up common culture and art continued and further strengthened during Gokturk period, especially in the lands of Southern Siberia, Altai region, Mongolia, Kazakhstan, Kirgizstan. In terms of the development of Pre-Islamic Turkish art, the importance of the Gokturk period depends on the spreading, establishment and entrenchment of common art and culture. In this area, among the examples of quite a few epigraphs that belong to the Gokturk Period, particularly those with human descriptions attract attention. The roots of this tradition which is linked by ancestors’ cult are traced back to mengirs, the structures of the primitive age. According to a more popular idea, such practices that emerged in line with the custom of burial face us in Central Asia and Southern Siberia in the Late Bronze Period. Beginning with Scythian period, such arrangements had been made not only around graves, but also in the sites where ceremonies and commemorations were performed. We recognize that the custom of sculpture with human figures further developed during the Gokturk period and that such items had become an indispensable element of the temples that were built for commemorations. It is possible to divide the epigraphs and sculptures into three groups: “Stones with deer,” stone monuments of the Tashtik culture and Gokturk balbals. The epigraphs in the form of human figures known as Gokturk balbals can internally be classified as tombstones in the form of humans, and original balbals. The monuments that have been dated back to the Gokturk period were made of stones of granite, basalt, breccia and rarely of marble. Based on a certain shape, some of the epigraphic monuments were arranged in the independent area, and the majority of them were arranged within or outside the area reserved for special memorial ceremonies. Among these stone monuments, which are classified as “Stones with deer,” statues, and balbals, it is statues that are recognized by more detailed descriptions and processing style. It is accepted that these depicted the deceased person himself and they were built to immortalise his memory. The Gokturk period statues that will be dealt with in this compilation are limited to the geography of Siberia and Mongolia that are closer to Altai region. A lately proposed hypothesis is the idea that these monuments, distinguished as descriptions of human beings sitting and standing, in fact, characterise figures that are always in sitting position. Another grouping can be done based on the objects these figures are holding in their hands. Among the stone monuments that have reached today are figures that hold a rhyton, musical instrument, severed human heads and figures holding birds. Unique symbolic meanings of all these objects are connected with the concept of death, burial and memorial ceremonies of Gokturks. Among the Gokturk period sculptures in the form of human figures that have reached today are more abstractly and plainly constructed ones besides those with a realistic style. These monuments built in various sizes and shapes generally exist in cult centres and around tombs. Because of the deer descriptions on the epigraphs that are frequently seen in the lands of Altai, Tuva region, Lake Baikal and neighbouring environment of the Ural river, Kirgizstan, Kazakhstan, and Mongolia, these monuments are called “stones with deer”. Mountain goat pictogram, which was the symbol of Gokturk rulers, is also interpreted as the symbol of immortality. In most of the “stones with deer” only the figures of living beings were depicted; it attracts attention that few samples were attempted to resemble human figures. “Stones with deer” of the Gokturk period are round or square in shape in the view from the horizontal section. Human face depictions on these stones are seen on the upper parts which are diagonally cut towards the back. In the Gokturk period, it was customary to erect balbals in cult centres and the tomb complexes built for the high level rulers of the society. These balbals were erected outside square courtyards, their face towards east. In some constructions, the number of balbals reaches 170. Unlike Gokturk sculptures, the surfaces of these epigraphs were slightly smoothened and they were roughly shaped in the form of human figures. As it was the case for the sculptures, various hypotheses concerning the semantic meaning of these monuments have been put forward. For some, these stones were a part of traditional ceremonies and they represent the crucial figures of the Gokturk society, while for others these stones functioned as posts which horses called serge were tied to. The idea that these stones signified the dead person’s enemies whom he killed in life is accepted by most scientists. According to this idea, the people whose balbals were erected are readily available around the tomb of the dead person to serve him in the afterlife. Gokturk art, which forms one of the most important components of Turkish art, is quite significant in terms of the entrenchment of common language for culture and art and the identification of the outlines of Turkish art. The art of sculpture that experienced a bright future in this period, on the one hand, is the documentary witness of that culture. On the other hand, it is one of the indispensable resources of the art of modern sculpture. Through both their location and the style of construction as well as their common iconography and many details on them, these sculptures having innumerable examples in the land of Central Asia, which is accepted
Anahtar Kelime:
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The human figure statues of Gokturk period
Öz:Gokturks, who established an empire in the wide geography of Middle Asia, between the 6th-8th centuries, are politically and culturally accepted as the continuation of the Huns, who lived in the same region. Having started in the Middle Asian geography during the era of the Huns, the developments of building up common culture and art continued and further strengthened during Gokturk period, especially in the lands of Southern Siberia, Altai region, Mongolia, Kazakhstan, Kirgizstan. In terms of the development of Pre-Islamic Turkish art, the importance of the Gokturk period depends on the spreading, establishment and entrenchment of common art and culture. In this area, among the examples of quite a few epigraphs that belong to the Gokturk Period, particularly those with human descriptions attract attention. The roots of this tradition which is linked by ancestors’ cult are traced back to mengirs, the structures of the primitive age. According to a more popular idea, such practices that emerged in line with the custom of burial face us in Central Asia and Southern Siberia in the Late Bronze Period. Beginning with Scythian period, such arrangements had been made not only around graves, but also in the sites where ceremonies and commemorations were performed. We recognize that the custom of sculpture with human figures further developed during the Gokturk period and that such items had become an indispensable element of the temples that were built for commemorations. It is possible to divide the epigraphs and sculptures into three groups: “Stones with deer,” stone monuments of the Tashtik culture and Gokturk balbals. The epigraphs in the form of human figures known as Gokturk balbals can internally be classified as tombstones in the form of humans, and original balbals. The monuments that have been dated back to the Gokturk period were made of stones of granite, basalt, breccia and rarely of marble. Based on a certain shape, some of the epigraphic monuments were arranged in the independent area, and the majority of them were arranged within or outside the area reserved for special memorial ceremonies. Among these stone monuments, which are classified as “Stones with deer,” statues, and balbals, it is statues that are recognized by more detailed descriptions and processing style. It is accepted that these depicted the deceased person himself and they were built to immortalise his memory. The Gokturk period statues that will be dealt with in this compilation are limited to the geography of Siberia and Mongolia that are closer to Altai region. A lately proposed hypothesis is the idea that these monuments, distinguished as descriptions of human beings sitting and standing, in fact, characterise figures that are always in sitting position. Another grouping can be done based on the objects these figures are holding in their hands. Among the stone monuments that have reached today are figures that hold a rhyton, musical instrument, severed human heads and figures holding birds. Unique symbolic meanings of all these objects are connected with the concept of death, burial and memorial ceremonies of Gokturks. Among the Gokturk period sculptures in the form of human figures that have reached today are more abstractly and plainly constructed ones besides those with a realistic style. These monuments built in various sizes and shapes generally exist in cult centres and around tombs. Because of the deer descriptions on the epigraphs that are frequently seen in the lands of Altai, Tuva region, Lake Baikal and neighbouring environment of the Ural river, Kirgizstan, Kazakhstan, and Mongolia, these monuments are called “stones with deer”. Mountain goat pictogram, which was the symbol of Gokturk rulers, is also interpreted as the symbol of immortality. In most of the “stones with deer” only the figures of living beings were depicted; it attracts attention that few samples were attempted to resemble human figures. “Stones with deer” of the Gokturk period are round or square in shape in the view from the horizontal section. Human face depictions on these stones are seen on the upper parts which are diagonally cut towards the back. In the Gokturk period, it was customary to erect balbals in cult centres and the tomb complexes built for the high level rulers of the society. These balbals were erected outside square courtyards, their face towards east. In some constructions, the number of balbals reaches 170. Unlike Gokturk sculptures, the surfaces of these epigraphs were slightly smoothened and they were roughly shaped in the form of human figures. As it was the case for the sculptures, various hypotheses concerning the semantic meaning of these monuments have been put forward. For some, these stones were a part of traditional ceremonies and they represent the crucial figures of the Gokturk society, while for others these stones functioned as posts which horses called serge were tied to. The idea that these stones signified the dead person’s enemies whom he killed in life is accepted by most scientists. According to this idea, the people whose balbals were erected are readily available around the tomb of the dead person to serve him in the afterlife. Gokturk art, which forms one of the most important components of Turkish art, is quite significant in terms of the entrenchment of common language for culture and art and the identification of the outlines of Turkish art. The art of sculpture that experienced a bright future in this period, on the one hand, is the documentary witness of that culture. On the other hand, it is one of the indispensable resources of the art of modern sculpture. Through both their location and the style of construction as well as their common iconography and many details on them, these sculptures having innumerable examples in the land of Central Asia, which is accepted
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