{"id":6531,"date":"2018-12-17T10:10:06","date_gmt":"2018-12-17T08:10:06","guid":{"rendered":"https:\/\/baraka.cc\/?p=6531"},"modified":"2018-12-17T10:10:06","modified_gmt":"2018-12-17T08:10:06","slug":"sanatin-kriz-halleri-tahsin-oygar","status":"publish","type":"post","link":"https:\/\/baraka.cc\/?p=6531","title":{"rendered":"Sanat\u0131n Kriz Halleri – Tahsin Oygar"},"content":{"rendered":"

Argasdi dergimizin “Kriz” dosya konulu 52. say\u0131s\u0131ndan sanat\u0131 inceleyen bir makale… Yoksa siz hala Khora Kitap Cafelerden derginizi almad\u0131n\u0131z m\u0131?<\/em><\/p>\n

\"Damien-Hirst-The-Golden-Calf-courtesy-of-zimbio.com_\"<\/a><\/p>\n

G\u00fcn\u00fcm\u00fczden yakla\u015f\u0131k 17,000 y\u0131l \u00f6nce ma\u011fara duvarlar\u0131na bizon ve at resimleri \u00e7izerek ba\u015flam\u0131\u015f olabilir sanat\u0131n hik\u00e2yesi; en az\u0131ndan \u015fu anki bilgimiz \u0131\u015f\u0131\u011f\u0131nda bu kadar\u0131n\u0131 biliyoruz. Dilin nas\u0131l do\u011fdu\u011funu bilmiyoruz, dolay\u0131s\u0131 ile sanat denilen \u015feyin de nas\u0131l do\u011fdu\u011funu bilemiyoruz. Sanat tarihi diye kabul edilen \u201ctarih yaz\u0131m\u0131\u201d asl\u0131nda olduk\u00e7a k\u0131sa bir ge\u00e7mi\u015fe dayan\u0131r. Giorgio Vasari\u2019nin\u00a0 yazd\u0131\u011f\u0131 \u00a0ve ilkin\u00a01550\u2019de\u00a0yay\u0131mlanan\u00a0\u201cSanat\u00e7\u0131lar\u0131n Ya\u015famlar\u0131\u2019na g\u00f6re\u00a0sanat, kutsal d\u00e2hinin eseri\u201d<\/i> ile ba\u015fland\u0131 sanat tarih\u00e7ili\u011fi. Ama dokuma, resim, \u00e7\u00f6mlek, ritim-m\u00fczik, heykel, ev ve tap\u0131nak in\u015fas\u0131n\u0131 sanat olarak nitelendirirsek ki \u00f6yledir, insanl\u0131k tarihi boyunca, olduk\u00e7a fazla sanat eseri ve sanat\u00e7\u0131m\u0131z\u0131n oldu\u011funu s\u00f6yleyebiliriz.<\/p>\n

B\u00fcy\u00fcn\u00fcn yarat\u0131m\u0131 veya yaratman\u0131n b\u00fcy\u00fcs\u00fc\u2026<\/b><\/p>\n

\u0130lk insanlar\u0131n, bu mevzu bahis resimleri ma\u011fara duvarlar\u0131na bir haz nesnesi olarak \u00e7izmedi\u011fi yayg\u0131n bir g\u00f6r\u00fc\u015ft\u00fcr. B\u00fcy\u00fck bir olas\u0131l\u0131kla avlad\u0131\u011f\u0131 veya avlayaca\u011f\u0131 hayvan\u0131 \u00e7izmek, benzerini yaratabilmek, onlara kendilerini g\u00fc\u00e7l\u00fc hissettiriyordu.<\/i> \u00a0<\/i>E.H. Gombrich, \u00a0\u201c\u0130lkel topluluklar\u0131n d\u00fc\u015f\u00fcnce tarz\u0131n\u0131 anlamaya \u00e7al\u0131\u015fmadan; onlar\u0131 imgeleri bak\u0131lacak g\u00fczel \u015feyler olarak de\u011fil de, kullan\u0131lacak ve g\u00fc\u00e7 dolu nesneler gibi g\u00f6rmeye iten ya\u015fant\u0131y\u0131 kavramal\u0131.\u201d<\/i> diyor. Belki de g\u00fcn\u00fcm\u00fcze kadar ula\u015fan Voodoo b\u00fcy\u00fcs\u00fc olduk\u00e7a eski g\u00fcd\u00fclerin devam\u0131 ile ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Av\u0131n\u0131 ma\u011fara duvar\u0131nda resmetti\u011fin zaman onu avlayabiliyorsun. Yani, avlanacak bizon ve at i\u00e7in ma\u011fara duvar\u0131na yap\u0131lan b\u00fcy\u00fc ile yarat\u0131c\u0131l\u0131k ba\u015fl\u0131yor veya yaratabilmenin verdi\u011fi \u00f6z g\u00fcven, b\u00fcy\u00fcl\u00fc bir \u015fekilde bizonu avlat\u0131yor. Bizim ma\u011farada hangisi ger\u00e7ekle\u015fti bilinmez fakat insanlar yaratt\u0131klar\u0131 imgelerin b\u00fcy\u00fcs\u00fcne kap\u0131lmaya ve yaratt\u0131k\u00e7a yaratmaya devam ettiler.<\/p>\n

Yaratt\u0131\u011f\u0131 b\u00fcy\u00fcn\u00fcn d\u00f6n\u00fc\u015f\u00fcm\u00fc sanat\u0131 nas\u0131l vurdu?<\/b><\/p>\n

Olu\u015fan inan\u00e7lar, mitlere, tanr\u0131lara ve dinlere d\u00f6n\u00fc\u015ft\u00fc. \u00a0Tarih boyunca bu inan\u00e7lar k\u00fcmesi, i\u00e7inde geli\u015fti\u011fi toplumlar\u0131 tekrar tekrar \u015fekillendirdi. \u00d6nceleri k\u00fc\u00e7\u00fck gensler<\/i> \u015feklinde toplumsalla\u015fan insan, yaban\u0131llar sonra barbarlar daha sonra kent devletleri ve imparatorluklara oradan da ulus devletlere do\u011fru uzun bir yolculuk yapt\u0131. Sanatsal \u00fcr\u00fcnler de \u00f6rg\u00fctlenme modellerinden, \u00fcretim ili\u015fkilerinden hep etkilendi. \u00d6zellikle heykel, \u00e7\u00f6mlek\u00e7ilik, dokuma ve resim sanat\u0131nda \u00f6nemli bir ustal\u0131k bilgisi biriktirildi. \u015eamanizm, paganizm ve \u00e7ok tanr\u0131l\u0131 dinlerin h\u00e2kim oldu\u011fu d\u00f6nemlerde bu sanat dallar\u0131na ait ustal\u0131k bilgisi sonraki nesillere rahatl\u0131kla aktar\u0131ld\u0131. Fakat tek tanr\u0131l\u0131 dinlerin do\u011fu\u015fu ile imgelerin yasaklanmas\u0131 sanata ciddi bir darbe vurdu. Tek tanr\u0131l\u0131 dinler \u00f6nceki t\u00fcm tanr\u0131lara ve inan\u00e7lara sava\u015f a\u00e7t\u0131. Mutlak, g\u00fc\u00e7l\u00fc ve tek olan tanr\u0131 eski tanr\u0131larla birlikte, bir s\u00fcr\u00fc sanat eserini de yok etti. Yeni tanr\u0131 insan bedeninde de\u011fildi; her yerde idi ve de imgelenemezdi. \u00a0\u0130lk \u00f6nce Musevi yasalar\u0131 putataparl\u0131\u011fa yol a\u00e7ar diye imge yap\u0131m\u0131n\u0131 yasaklad\u0131. Sonras\u0131nda Hristiyanl\u0131kta da heykel ve resim ayni \u015fekilde yasakland\u0131 ta ki VI. y\u00fczy\u0131l da ya\u015fam\u0131\u015f papa Gregorius Magnus\u2019a kadar.\u00a0 Gregorius Magnus kilisenin \u00fcyelerinin \u00e7o\u011funun okuma yazma bilmedi\u011fini dolay\u0131s\u0131 ile resim ve heykel kullan\u0131larak dinin bu kesimlere daha iyi anlat\u0131labilece\u011fini savundu. B\u00f6ylece bu tarz sanatlar k\u00fc\u00e7\u00fck de olsa bir nefes ald\u0131. \u0130slam dini de di\u011fer dinler gibi hatta biraz daha s\u0131k\u0131 bir yakla\u015f\u0131m ile imgeyi tamamen yasaklad\u0131. \u0130slam\u0131n hakim oldu\u011fu b\u00f6lgelerde \u00e7ini, hattat gibi sanatsal eserler ve s\u00fcsleme geli\u015firken di\u011fer sanat dallar\u0131 \u00e7ok k\u00f6t\u00fc bir \u015fekilde yok olma ile burun buruna kald\u0131. Sanat\u0131n bu kriz hali, baz\u0131 sanatlar i\u00e7in ise geli\u015fme f\u0131rsat\u0131 sundu. Tarihsel olarak sanat\u0131n ya\u015fad\u0131\u011f\u0131 bu \u00f6nemli kriz bug\u00fcn\u00fcn \u00e7a\u011fda\u015f sanat\u0131n\u0131 nas\u0131l etkilemi\u015ftir ayr\u0131 bir makale konusudur.<\/p>\n

Peki \u00e7a\u011fda\u015f sanat\u0131n krizi?<\/b><\/p>\n

17.yy\u2019\u0131n ikinci yar\u0131s\u0131ndan 19.yy\u2019\u0131n sonuna kadar sanat\u00e7\u0131lar aras\u0131nda, ciddi, entelekt\u00fcel tart\u0131\u015fma ve ele\u015ftiri mekanizmalar\u0131, sa\u011fl\u0131kl\u0131 bir \u015fekilde var g\u00f6r\u00fcn\u00fcyor. G\u00fcn\u00fcm\u00fczde ise bu, neoliberal ve postmodern yakla\u015f\u0131mlar sebebi ile neredeyse ortadan kalkm\u0131\u015f durumda. \u00d6zellikle de \u00fclkemizde \u00e7ok uzun zamand\u0131r sanatsal \u00fcr\u00fcnlerin, eserlerin tart\u0131\u015f\u0131ld\u0131\u011f\u0131, ele\u015ftirildi\u011fi s\u00f6ylenemez. \u00c7a\u011f\u0131m\u0131zda kapitalizmin insana ve ekolojiye verdi\u011fi de\u011fer ortada! Sava\u015flar, talan, s\u00f6m\u00fcr\u00fc ve yoksulluk. Engels ne g\u00fczel ifade etmi\u015f.\u00a0\u201c\u0130nsan ne kadar insanla\u015fabilmi\u015fse sanat da ancak o kadar sanatla\u015fm\u0131\u015ft\u0131r\u201d <\/i><\/b>diye. 1844 Elyazmalar\u0131\u2019nda Marx insanlar\u0131 \u201cya\u015fama faaliyetlerini (kendi) bilin\u00e7lerinin hedefi haline getiren do\u011fal varl\u0131klar\u201d<\/i> olarak tan\u0131mlad\u0131. Emek s\u00fcreci i\u00e7inde insanlar hem do\u011fal d\u00fcnyay\u0131, hem de kendi kapasitelerini geli\u015ftirirler. \u0130nsan eme\u011finin bir par\u00e7as\u0131 olarak sanat, Marx\u2019a g\u00f6re \u201cd\u0131\u015fsal ger\u00e7eklik denilen \u015feyin bir kopyas\u0131 ya da yans\u0131mas\u0131 de\u011fil insani ama\u00e7lar\u0131n a\u015f\u0131lanmas\u0131d\u0131r.\u201d \u00a0G\u00fcn\u00fcm\u00fcz\u00fcn kendinden en \u00e7ok s\u00f6z ettiren \u201csanat\u00e7\u0131\u201dlar\u0131ndan olan Damien Hirst\u2019in bir \u201csanat eseri\u201d olarak sunup y\u00fckl\u00fc bir paraya satt\u0131\u011f\u0131 i\u00e7i sigara izmaritleriyle dolu \u201ck\u00fcl tablas\u0131\u201d d\u0131\u015f\u0131nda 18 karat som alt\u0131ndan \u00e7er\u00e7evesi ile akvaryumdaki inek eseri 16,5 milyon dolara al\u0131c\u0131 buldu. Kapitalizmin bize a\u015f\u0131lamak istedi\u011fi \u201cinsani ama\u00e7lar\u0131\u201d Damien Hirst \u00e7ok iyi bir \u015fekilde temsil ediyor. Egemen sanat\u0131n kriz hallerini insani bir sanat i\u00e7in f\u0131rsata d\u00f6n\u00fc\u015ft\u00fcrmek konusunda peki ya biz ne yap\u0131yoruz?<\/p>\n

Tahsin Oygar<\/p>\n

tahsinoygar@yahoo.com<\/p>\n

 <\/p>\n

Kaynak\u00e7a:<\/i><\/p>\n

E. H. Gombrich, Sanat\u0131n \u00d6yk\u00fcs\u00fc, Remzi Kitabevi<\/i><\/p>\n

Eugene Lunn, Marksizm ve Modernizm, \u00c7ev: Yavuz Alogan,Dipnot<\/i><\/p>\n

http:\/\/www.aliartun.com\/yazilar\/sanat-tarihinde-kriz-ve-biz\/<\/i><\/p>\n

https:\/\/www.aydinlik.com.tr\/cagdas-sanatin-krizi<\/i><\/p>\n

https:\/\/www.widewalls.ch\/most-expensive-damien-hirst-art-pieces-sold-at-auctions\/the-golden-calf\/<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

Argasdi dergimizin “Kriz” dosya konulu 52. say\u0131s\u0131ndan sanat\u0131 inceleyen bir makale… Yoksa siz hala Khora Kitap Cafelerden derginizi almad\u0131n\u0131z m\u0131? G\u00fcn\u00fcm\u00fczden yakla\u015f\u0131k 17,000 y\u0131l \u00f6nce<\/p>\n","protected":false},"author":3,"featured_media":6532,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[40,67,38,9,42,1],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/baraka.cc\/wp-content\/uploads\/2018\/12\/Damien-Hirst-The-Golden-Calf-courtesy-of-zimbio.com_.jpg","jetpack_shortlink":"https:\/\/wp.me\/p4eHWX-1Hl","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/6531"}],"collection":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6531"}],"version-history":[{"count":1,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/6531\/revisions"}],"predecessor-version":[{"id":6533,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/6531\/revisions\/6533"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/media\/6532"}],"wp:attachment":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6531"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6531"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6531"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}