Bir ifade biçimi olarak figüratif resimde grotesk yaklaşımlar
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Dosyalar
Tarih
2024
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Selçuk Üniversitesi, Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Figür, bir sanat öznesi olarak tarih boyunca farklı fikirleri, temaları, düşünceleri ve duyguları anlatmak için resim sanatçılarının sıklıkla kullandığı bir unsur olmuştur. Dönem dönem değişen estetik kriterlerine ve insan bedeninin dış görünüşündeki değişimlere göre figür de değişimler göstermiş, bazen anatomik açıdan eksiksiz, bazense bozuma uğramış şekillerde ele alınmıştır. Klasik dönemde hem dünyevi tüm yetilerden uzak, bozulmaz, zedelenmez ve yıpranmaz bedenlerin temsil edildiği görülürken, hem de çarpıtılmış, yıpranmış, kısacası zamanın ve doğanın yaratabileceği tüm zararları bünyesinde izleyicisine göstermekten kaçınmayan bedenlerin de sergilendiği gözlemlenmiştir. Bu bağlamda bedenin itibarsızlaştırılması ve ideal beden kriterlerine bir başkaldırı olan bu grotesk girişimler farklı zamanlarda farklı şekillerde varlığını göstermiştir. Ancak, söz konusu durumu ele alan yeterli derecede araştırma olmadığı anlaşıldığından araştırma önemli görülmüş ve XX. yüzyıldan günümüze Batı resminde bir ifade biçimi olarak figüratif resimde grotesk yaklaşımların tespit edilerek ilgili literatüre katkı yapılması amaçlanmıştır. Bu amaçla yapılan araştırma kapsamında ele alınan sanatçıların eser örneklerinde; vücuda ait uzuvların normal vücut yapısında olamayacak yerlerde ve var olmayacak eklemlerle birbirlerine eklendiği grotesk yaklaşımlarla, özellikle figürlerin portre kısımlarındaki uzuvlarda oransal uyumsuzlukların, erime, çürüme gibi etkilerin görüldüğü grotesk yaklaşımlar tespit edilmiştir. Nitel araştırma yöntem ve tekniklerinden yararlanılan bu araştırmada genel tarama modeli kullanılmıştır.
The figure, as an art subject, has been a frequently used element by artists throughout history to express different ideas, themes, thoughts and emotions. According to the changing aesthetic criteria and the changes in the appearance of the human body throughout different periods, the figure has also changed, sometimes in anatomically complete and sometimes in deformed forms. In the classical period, it was observed that both bodies that were far from all earthly faculties, inviolable, invulnerable and unbreakable were represented, as well as bodies that were distorted, and worn out, in short, bodies that did not refrain from showing the viewer all the damages that time and nature could create. In this context, these grotesque attempts to discredit the body and to rebel against the criteria of the ideal body have manifested themselves in different ways at different times. However, since it is understood that there is not enough research addressing the situation in question, the research is considered important and it is aimed to contribute to the relevant literature by identifying grotesque approaches in figurative painting as a form of expression in Western painting from the XX. century to the present day. For this purpose, grotesque approaches in which the limbs of the body are added to each other in places that cannot be in the normal body structure and with joints that cannot exist, and grotesque approaches in which effects such as proportional incompatibilities, melting and decay are seen, especially in the limbs of the figures in the portrait parts of the figures, have been identified in the examples of the works of the artists examined within the scope of the research. Qualitative research methods and techniques were utilized in this study and the general survey model was used.
The figure, as an art subject, has been a frequently used element by artists throughout history to express different ideas, themes, thoughts and emotions. According to the changing aesthetic criteria and the changes in the appearance of the human body throughout different periods, the figure has also changed, sometimes in anatomically complete and sometimes in deformed forms. In the classical period, it was observed that both bodies that were far from all earthly faculties, inviolable, invulnerable and unbreakable were represented, as well as bodies that were distorted, and worn out, in short, bodies that did not refrain from showing the viewer all the damages that time and nature could create. In this context, these grotesque attempts to discredit the body and to rebel against the criteria of the ideal body have manifested themselves in different ways at different times. However, since it is understood that there is not enough research addressing the situation in question, the research is considered important and it is aimed to contribute to the relevant literature by identifying grotesque approaches in figurative painting as a form of expression in Western painting from the XX. century to the present day. For this purpose, grotesque approaches in which the limbs of the body are added to each other in places that cannot be in the normal body structure and with joints that cannot exist, and grotesque approaches in which effects such as proportional incompatibilities, melting and decay are seen, especially in the limbs of the figures in the portrait parts of the figures, have been identified in the examples of the works of the artists examined within the scope of the research. Qualitative research methods and techniques were utilized in this study and the general survey model was used.
Açıklama
Anahtar Kelimeler
Figüratif Sanat, Grotesk, Karnavalesk, Çirkin Sanat, Figurative Art, Grotesque, Carnivalesque, Ugly Art
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Ünal, M. (2024). Bir ifade biçimi olarak figüratif resimde grotesk yaklaşımlar. (Sanatta Yeterlilik Tezi). Selçuk Üniversitesi, Sosyal Bilimler Enstitüsü, Konya.
