{"id":8732,"date":"2022-03-15T12:53:54","date_gmt":"2022-03-15T10:53:54","guid":{"rendered":"https:\/\/baraka.cc\/?p=8732"},"modified":"2022-03-15T12:53:54","modified_gmt":"2022-03-15T10:53:54","slug":"ronesansin-estetiginden-gunumuzun-sentetigine-sanat-sezgin-keser","status":"publish","type":"post","link":"https:\/\/baraka.cc\/?p=8732","title":{"rendered":"R\u00f6nesans’\u0131n Esteti\u011finden G\u00fcn\u00fcm\u00fcz\u00fcn Senteti\u011fine Sanat – Sezgin Keser"},"content":{"rendered":"

Sevilen ve para kazanan bir sanat\u00e7\u0131 olmak ister miydiniz? E\u011fer istiyorsan\u0131z i\u015finiz hi\u00e7 de zor de\u011fil. \u0130\u00e7ti\u011finiz veya \u00e7evrenizde i\u00e7ilen sigaralar\u0131n izmaritlerini bir k\u00fcl tablas\u0131nda biriktirin. Bir sergi salonunda bu eseri insanlara sunun ve g\u00f6\u011fs\u00fcn\u00fcz\u00fc kabartarak nas\u0131l b\u00fcy\u00fck bir sanat\u00e7\u0131 oldu\u011funuzun gururunu ya\u015fay\u0131n. E\u011fer ki sergi salonuna giderken k\u00fcl tablas\u0131n\u0131 d\u00fc\u015f\u00fcrd\u00fcyseniz ve sanat eserinizi k\u0131rd\u0131ysan\u0131z k\u00f6\u015fedeki bakkaldan bir muz ve koli band\u0131 al\u0131n. Salonun duvar\u0131na yap\u0131\u015ft\u0131raca\u011f\u0131n\u0131z bir muzla emin olun ki insanlar\u0131 hayal g\u00fcc\u00fcn\u00fczle etkileyeceksiniz. \u00dcstelik muz \u00e7\u00fcr\u00fcm\u00fc\u015fse i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z sistemin koku\u015fmu\u015flu\u011funu da yans\u0131tt\u0131\u011f\u0131n\u0131z i\u00e7in sanatseverlerin b\u00fct\u00fcn ilgisini \u00fcst\u00fcn\u00fcze \u00e7ekeceksiniz. \u015eans\u0131n\u0131z\u0131 edebiyatta denemek isterseniz; kabu\u011funa \u00e7ekilmi\u015f, karamsar ve yenilgisinin hazz\u0131n\u0131 ya\u015fayan bir karakteri temel al\u0131n. Yan\u0131na etnik k\u00f6keni, dini inanc\u0131 veya cinsel kimli\u011fi sebebiyle -toplumsal s\u0131n\u0131f\u0131 kar\u0131\u015ft\u0131rmay\u0131n- ayr\u0131mc\u0131l\u0131\u011fa u\u011frayan birilerini yerle\u015ftirin. G\u00f6ze sokmadan bir tutam da siyasal \u0130slam g\u00fczellemesi yapt\u0131n\u0131z m\u0131 kesin tutar. Sizlerle dalga ge\u00e7ti\u011fimi d\u00fc\u015f\u00fcnmeyin. Sadece g\u00fcn\u00fcm\u00fcz d\u00fcnyas\u0131nda sanat\u0131n ve edebiyat\u0131n nas\u0131l de\u011fersizle\u015ftirildi\u011finin, kitchle\u015ftirildi\u011finin ve tarih boyunca nice zorluklarla olu\u015fan entelekt\u00fcel birikimin yok edildi\u011finin \u00f6rneklerini sunmaya \u00e7al\u0131\u015f\u0131yorum. Gelin g\u00fcn\u00fcm\u00fcz d\u00fcnyas\u0131n\u0131n s\u0131\u011fl\u0131klar\u0131na girmeden \u00f6nce dergimizin temas\u0131 ile ba\u011flant\u0131l\u0131 olarak R\u00f6nesans ve Ayd\u0131nlanma d\u00f6nemi sanat\u0131n\u0131n derinliklerine bir g\u00f6z atal\u0131m.<\/p>\n

Karanl\u0131ktan Do\u011fan Sanat<\/b><\/p>\n

Sanat ve sanat\u00e7\u0131 kavram\u0131 1700\u2019l\u00fc y\u0131llar\u0131n sonlar\u0131na dek pek bir \u015fey ifade etmiyordu. Sanat\u00e7\u0131lar; ah\u015fap ustalar\u0131, eczac\u0131lar gibi meslek kollar\u0131yla ayn\u0131 localarda yer al\u0131yordu. Eserler kilisenin istekleri do\u011frultusunda yap\u0131l\u0131yordu. Da Vinci, eserlerinde hangi renklerin a\u011f\u0131rl\u0131kta olaca\u011f\u0131na ve hangi fig\u00fcrleri kullanaca\u011f\u0131na kilisenin g\u00f6nderdi\u011fi belgelere dayanarak karar verip resimlerini yap\u0131yormu\u015f.<\/p>\n

Karl Marx’\u0131n dedi\u011fi gibi: “Egemen s\u0131n\u0131f\u0131n d\u00fc\u015f\u00fcnceleri, her \u00e7a\u011fda egemen d\u00fc\u015f\u00fcncelerdir: Yani toplumun maddi egemen g\u00fcc\u00fc olan s\u0131n\u0131f, ayn\u0131 zamanda egemen fikri g\u00fc\u00e7t\u00fcr.” Bu \u00f6nerme sanat i\u00e7in de ge\u00e7erli olup feodalizmden kapitalizme her d\u00f6nemde yayg\u0131n olan sanat, egemen s\u0131n\u0131f\u0131n sanat\u0131d\u0131r. Feodal yap\u0131n\u0131n hakim oldu\u011fu, aristokrat ve ruhban s\u0131n\u0131f\u0131n egemen oldu\u011fu Orta \u00c7a\u011f, Avrupa i\u00e7in karanl\u0131k bir d\u00f6nemdir. D\u00fc\u015f\u00fcnceyi kontrol alt\u0131na alan kilise, sanat\u0131 dinsel \u00f6\u011fretileri insanlara dayatma amac\u0131yla kilise duvarlar\u0131nda s\u0131n\u0131rland\u0131rm\u0131\u015ft\u0131r.<\/p>\n

Zaman\u0131nda Arap\u00e7a’ya \u00e7evrilen ve do\u011fuda \u00fczerinde \u00e7al\u0131\u015fmalar yap\u0131lan Antik Yunan eserleri Avrupa\u2019ya getirilmeye ba\u015flanm\u0131\u015f, ticaretin geli\u015fmesi ve matbaan\u0131n da icad\u0131yla birlikte bilimsel ve yeni d\u00fc\u015f\u00fcnceler h\u0131zl\u0131 bir \u015fekilde yay\u0131lm\u0131\u015ft\u0131r. Burjuva s\u0131n\u0131f\u0131n\u0131n ortaya \u00e7\u0131kmas\u0131yla toplumsal ili\u015fkiler de\u011fi\u015fmi\u015f, sanat kilisenin dogmatik \u00f6\u011fretilerinden kurtulmu\u015ftur. \u0130lgin\u00e7tir ki; vebaya sebep olan farelerin do\u011fal avc\u0131s\u0131 kedileri \u015feytan ilan edip \u00f6ld\u00fcrten kiliseye olan g\u00fcven, veba salg\u0131n\u0131 ile birlikte azalm\u0131\u015ft\u0131r. G\u00fcn\u00fcm\u00fczde trafoya kedilerin girdi\u011fini iddia edip se\u00e7imlerde hile yapan y\u00f6netimlerden fark\u0131 olmayan kilisenin yaratt\u0131\u011f\u0131 skolastik d\u00fc\u015f\u00fcnce sars\u0131lm\u0131\u015ft\u0131r. R\u00f6nesans denilen bu d\u00f6nemde do\u011fudan gelen \u0131\u015f\u0131kla birlikte sanatta yeniden bir do\u011fu\u015f ba\u015flam\u0131\u015ft\u0131r. Art\u0131k zenginle\u015fen burjuvalar da sanat al\u0131c\u0131s\u0131 stat\u00fcs\u00fc kazanm\u0131\u015ft\u0131r ve bu yeni s\u0131n\u0131f duvarlar\u0131na sadece \u0130sa resmi asmak istememektedir.<\/p>\n

Sanat\u0131n Ayd\u0131nlanma’y\u0131 ve Frans\u0131z Devrimi’ni haz\u0131rlayan etkisini g\u00f6steren bir \u00f6rnek Frans\u0131z ressam Jacques Louis David’in “Sokrates\u2019in \u00d6l\u00fcm\u00fc” tablosudur. \u0130nan\u00e7lar\u0131 y\u00fcz\u00fcnden haks\u0131z yere \u00f6l\u00fcme mahk\u00fbm edilen Sokrat, 1787 y\u0131l\u0131nda, Frans\u0131zlara cesaret ve hakikat u\u011fruna kendini feda etme konusunda ahlaki bir ders niteli\u011findeydi. David bu konuyu resmederek a\u00e7\u0131k bir \u015fekilde, H\u0131ristiyan kilisesinin hurafelerinden ba\u011f\u0131ms\u0131z olarak insan akl\u0131n\u0131n ger\u00e7ek ahlak ve do\u011fru ya\u015fam yolunu g\u00f6sterece\u011fine inanan Ayd\u0131nlanma d\u00fc\u015f\u00fcn\u00fcrleriyle ayn\u0131 safta yer al\u0131yordu.<\/p>\n

\u0130\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n hen\u00fcz toplumda siyasal varl\u0131\u011f\u0131n\u0131 hissettiremedi\u011fi bir \u00e7a\u011fda, halk tabakalar\u0131n\u0131 olu\u015fturan k\u00fc\u00e7\u00fck burjuvazi, toplumda ileri y\u00f6nde i\u015flevler \u00fcstlenmi\u015ftir. Orta \u00c7a\u011f karanl\u0131\u011f\u0131n\u0131n ard\u0131ndan \u00f6zne haline gelen insanla ve insan akl\u0131yla g\u00fcn\u00fcm\u00fczde nas\u0131l alay edildi\u011finin detay\u0131na inmek i\u00e7in tekrar bug\u00fcn\u00fcn egemen anlay\u0131\u015f\u0131na ve yayg\u0131n sanat\u0131na d\u00f6nelim.<\/p>\n

Bana G\u00f6re Do\u011fru, Bana G\u00f6re Sanat<\/b><\/p>\n

Bireyselcilik ve rekabetin kan\u0131m\u0131za kadar i\u015fledi\u011finin hepimiz fark\u0131nday\u0131zd\u0131r. Okulda, i\u015f hayat\u0131nda, \u00f6zel ili\u015fkilerimizde ba\u015far\u0131 elde edebilmek, kazanmak u\u011fruna \u201cher koyun kendi baca\u011f\u0131ndan as\u0131l\u0131r\u201d mottosuyla birbirmizle yar\u0131\u015f\u0131yoruz; \u00e7\u00fcnk\u00fc yar\u0131\u015fmak zorunda kal\u0131yoruz. Sistemin i\u015fleyi\u015finin ak\u0131\u015f\u0131na kendimizi b\u0131rak\u0131yoruz. Asgari \u00fccretin yetersizli\u011finden \u015fikayet edip daha fazla para kazanman\u0131n yollar\u0131na y\u00f6neliyoruz. Halbuki asgari \u00fccretle \u00e7al\u0131\u015fan insanlar olarak \u00e7o\u011funlu\u011fu olu\u015fturdu\u011fumuz toplumda bir araya gelip \u00f6rg\u00fctlendi\u011fimizde neler yapabilece\u011fimizin fark\u0131na varsak bu sistemin de\u011fi\u015febilece\u011fini g\u00f6r\u00fcr\u00fcz. Kad\u0131n, erkek, T\u00fcrk, Arap, e\u015fcinsel, heteroseks\u00fcel vb. bir s\u00fcr\u00fc kimliklere, s\u0131n\u0131fsal kimli\u011fimizden daha fazla \u00f6nem verdi\u011fimiz bu postmodern \u00e7a\u011fda asgari \u00fccretin artmas\u0131 i\u00e7in m\u00fccadele etmenin yazmas\u0131 kolay yapmas\u0131 zor. B\u00fct\u00fcn i\u015f\u00e7iler birlik olun d\u00fcnyay\u0131 yerinden oynat\u0131n \u015feklinde bir \u00f6\u011freti hangi e\u011fitim m\u00fcfredat\u0131nda vard\u0131r? G\u00fcn\u00fcm\u00fcz\u00fcn \u201chit\u201d \u015fark\u0131lar\u0131ndan hangisi devrimci m\u00fccadelelerin an\u0131s\u0131na yaz\u0131lm\u0131\u015ft\u0131r? Asl\u0131nda bir b\u00fct\u00fcnl\u00fck kurmam\u0131z gereken ya\u015fam\u0131n her alan\u0131 aksine bizi b\u00f6lmektedir. \u00c7\u00fcnk\u00fc b\u00fct\u00fcnsellik postmodern \u00e7a\u011f\u0131n k\u00f6t\u00fcs\u00fcd\u00fcr.<\/p>\n

Pop\u00fcler edebiyat dergilerine bir bakal\u0131m. Neredeyse hepsinin ilgi \u00e7eken marjinal isimleri vard\u0131r. Kapa\u011f\u0131na bir solcu sanat\u00e7\u0131n\u0131n, yazar\u0131n, \u015fairin foto\u011fraf\u0131n\u0131 koyup i\u00e7eri\u011fini birbirlerinden kopuk yaz\u0131larla ve birbirlerine z\u0131t d\u00fcnya g\u00f6r\u00fc\u015f\u00fcne sahip yazarlarla dolduruyorlar. Mesela Ahmed Arif\u2019in kapakta oldu\u011fu bir dergide Anadolu insan\u0131n\u0131n ya\u015fad\u0131\u011f\u0131 zorluklardan bahsetmemek olabilir mi? Melankolinin ve bohemli\u011fin dibini ya\u015fayan yazarlar\u0131n an\u0131lar\u0131n\u0131 dergilere koyuyorlar. Dergiyi haz\u0131rlayana g\u00f6re devrimci ideoloji b\u00f6yle de olabilir \u00e7\u00fcnk\u00fc postmodernizm tek bir do\u011fru olmad\u0131\u011f\u0131n\u0131 benimsetiyor. Ayd\u0131nlanmayla bilimsel g\u00f6zleme ve verilere yaslanarak geli\u015fen insan akl\u0131 \u2018inan\u0131yorum \u00f6yleyse do\u011frudur\u2019 mant\u0131(ks\u0131zl\u0131)\u011f\u0131na y\u00f6nlendiriliyor.<\/p>\n

Onlarca rengin ahengiyle do\u011fay\u0131 ve insan\u0131 anlatan resimlerin yerini bo\u015f bir tuvalin ortas\u0131na koyulan siyah bir nokta al\u0131yor. Ya\u015farken s\u00f6m\u00fcr\u00fclmeleri yetmeyen hayvanlar\u0131n \u00f6l\u00fcleri camdan akvaryumun i\u00e7ine koyularak sanat olarak sat\u0131l\u0131yor. \u00c7\u00fcnk\u00fc postmodern sanatta herkesin kendi sanat\u0131 vard\u0131r. Ancak anlam, mesaj ve topluma ayna tutma kayg\u0131s\u0131 yoktur. <\/b><\/p>\n

\u0130lk paragrafta bahsetti\u011fimiz k\u00fcl tablas\u0131n\u0131 k\u0131rmadan sergi salonuna g\u00f6t\u00fcrebilen Damien Hirst\u2019\u00fcn eserini \u00e7\u00f6pe atan temizlik i\u015f\u00e7isi \u015f\u00f6yle demi\u015f: \u201cG\u00f6r\u00fcr g\u00f6rmez bir ah \u00e7ektim, \u00e7\u00fcnk\u00fc her \u015fey darmada\u011f\u0131n\u0131kt\u0131. Bu bana pek de sanat eseriymi\u015f gibi gelmedi. Bu y\u00fczden de her \u015feyi toplay\u0131p att\u0131m.\u201d S\u0131n\u0131fsal bak\u0131\u015fla, sanat\u0131 postmodernizmden temizlemek bu olsa gerek!<\/p>\n

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\"sezginfoto\"<\/a><\/p>\n

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 <\/p>\n","protected":false},"excerpt":{"rendered":"

Sevilen ve para kazanan bir sanat\u00e7\u0131 olmak ister miydiniz? E\u011fer istiyorsan\u0131z i\u015finiz hi\u00e7 de zor de\u011fil. \u0130\u00e7ti\u011finiz veya \u00e7evrenizde i\u00e7ilen sigaralar\u0131n izmaritlerini bir k\u00fcl tablas\u0131nda<\/p>\n","protected":false},"author":9,"featured_media":0,"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":[40,67,38,9,42,1,39],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p4eHWX-2gQ","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/8732"}],"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\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8732"}],"version-history":[{"count":1,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/8732\/revisions"}],"predecessor-version":[{"id":8734,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/8732\/revisions\/8734"}],"wp:attachment":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8732"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8732"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8732"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}