{"id":139325,"date":"2022-06-17T13:57:07","date_gmt":"2022-06-17T10:57:07","guid":{"rendered":"https:\/\/epochtimestr.com\/?p=139325"},"modified":"2022-06-17T13:57:11","modified_gmt":"2022-06-17T10:57:11","slug":"bir-ustanin-yardimcilari-michelangelonun-sistine-tavani","status":"publish","type":"post","link":"https:\/\/epochtimestr.com\/index.php\/bir-ustanin-yardimcilari-michelangelonun-sistine-tavani","title":{"rendered":"Bir Ustan\u0131n Yard\u0131mc\u0131lar\u0131: Michelangelo\u2019nun Sistine Tavan\u0131"},"content":{"rendered":"\n
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Sistine \u015fapeli tavan\u0131n\u0131n bat\u0131 ucundaki pandantifleri (\u00fc\u00e7gen g\u00f6r\u00fcnen k\u0131s\u0131mlar) ve Zekeriya Peygamberi g\u00f6steren bir detay. (Kamusal Alan)<\/figcaption><\/figure><\/div>\n\n\n\n

Michelangelo, Sistine \u015fapeli tavan\u0131n\u0131 kendi standartlar\u0131na g\u00f6re tamamlamak i\u00e7in asistanlarla \u00e7al\u0131\u015ft\u0131<\/h3>\n\n\n\n

Neredeyse d\u00f6rt y\u0131l boyunca Vatikan Tepesi\u2019nde herkes ayn\u0131 manzaray\u0131 g\u00f6rd\u00fc. Sekiz ila on iki adam \u00e7e\u015fitli g\u00f6revlerde \u00e7al\u0131\u015f\u0131yordu: Al\u00e7\u0131y\u0131 kar\u0131\u015ft\u0131r\u0131yor, al\u00e7\u0131n\u0131n yap\u0131\u015fmas\u0131 i\u00e7in kazma ile tavan y\u00fczeyine p\u00fcr\u00fcz veriyor, s\u0131va ve boya yap\u0131yorlard\u0131.<\/p>\n\n\n\n

Bu kula\u011fa s\u0131radan bir in\u015faat i\u015fi gibi geliyor, de\u011fil mi? Asl\u0131nda tarihin en b\u00fcy\u00fck sanat \u015faheserlerinden biri olan Michelangelo\u2019nun Sistine \u015eapelinin tavan\u0131 b\u00f6yle yap\u0131ld\u0131.<\/p>\n\n\n\n

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Tanr\u0131\u2019n\u0131n Yarat\u0131\u015f g\u00f6r\u00fcnt\u00fcs\u00fc tek bir g\u00fcnde boyanm\u0131\u015ft\u0131r ve Michelangelo\u2019nun kendisi taraf\u0131ndan tavan\u0131n yap\u0131l\u0131\u015f\u0131n\u0131 yans\u0131t\u0131r. (Kamusal Alan)<\/figcaption><\/figure><\/div>\n\n\n\n

Bu ba\u015far\u0131n\u0131n \u00fcnl\u00fc ve klasik bir hik\u00e2yesi vard\u0131r. Hala gen\u00e7 olan Michelangelo, bir heykelt\u0131ra\u015f olarak t\u00fcm seleflerini ve \u00e7a\u011fda\u015flar\u0131n\u0131 tart\u0131\u015fmal\u0131 bir \u015fekilde a\u015fm\u0131\u015ft\u0131r. Ancak fresk resminde b\u00fcy\u00fck \u00f6l\u00e7\u00fcde deneyimsizdir. Sistine \u015eapeli komisyonunun teklifini sadece, \u00e7ok az alternatifi oldu\u011fu i\u00e7in kabul eder. Sonu\u00e7 d\u00fcnyay\u0131 \u015fa\u015f\u0131rt\u0131r.<\/p>\n\n\n\n

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Kap\u0131n\u0131n yan\u0131ndan Sistine tavan\u0131 bat\u0131 ucunun g\u00f6r\u00fcn\u00fcm\u00fc. (Darafsh\/CC BY-SA 3.0)<\/figcaption><\/figure><\/div>\n\n\n\n

S\u00fcslenmeye ihtiya\u00e7 duymayan bir ba\u015far\u0131yd\u0131. Ancak az say\u0131daki en b\u00fcy\u00fck sanat ustalar\u0131 bu kadar g\u00fczel bir eseri tasarlayabilirdi. Belki de ba\u015fka birka\u00e7 usta, en karma\u015f\u0131k k\u0131s\u0131mlar\u0131n\u0131 buna yak\u0131n bir ba\u015far\u0131yla ger\u00e7ekle\u015ftirebilirdi. Bununla birlikte, baz\u0131 hesaplara g\u00f6re \u201csadece\u201d sanatsal a\u00e7\u0131dan bu kadar parlak olmas\u0131 de\u011fil, Michelangelo\u2019nun bunu fiziksel olarak yapmas\u0131 da imk\u00e2ns\u0131z g\u00f6r\u00fcn\u00fcyor.<\/p>\n\n\n\n

Bu efsaneye g\u00f6re, Michelangelo Sistine \u015eapeli\u2019nde, bir st\u00fcdyoda \u00e7al\u0131\u015f\u0131r gibi tek ba\u015f\u0131na \u00e7al\u0131\u015ft\u0131. Ancak bir adam\u0131n gereken t\u00fcm i\u015fi bu s\u00fcre i\u00e7inde tek ba\u015f\u0131na yapmas\u0131 insan yetene\u011finin \u00f6tesindeydi. Yaz\u0131l\u0131 kay\u0131tlar onun asistan kulland\u0131\u011f\u0131n\u0131 do\u011fruluyor.<\/p>\n\n\n\n

Tak\u0131m \u00c7al\u0131\u015fmas\u0131<\/strong><\/h3>\n\n\n\n

Fresk resminin bir ekip \u00e7al\u0131\u015fmas\u0131 ile yap\u0131lmas\u0131 asl\u0131nda standart bir uygulamayd\u0131 ve b\u00fcy\u00fck ustalar k\u00fc\u00e7\u00fck sanat\u00e7\u0131lardan daha yayg\u0131n olarak bu y\u00f6ntemi kullan\u0131rd\u0131. B\u00fcy\u00fck ustalar daha fazla talep g\u00f6r\u00fcyor ve en b\u00fcy\u00fck projeler i\u00e7in g\u00f6revlendiriliyorlard\u0131.<\/p>\n\n\n\n

Asistanlar, i\u015f hacminin b\u00fcy\u00fckl\u00fc\u011f\u00fc nedeniyle gerekliydi. Raphael, Botticelli, Masaccio, Fra Angelico ve daha bir\u00e7oklar\u0131 onlara g\u00fcveniyordu. Asistanlar olmasalard\u0131, \u00e7ok daha az say\u0131da \u015faheser yarat\u0131l\u0131rd\u0131.<\/p>\n\n\n\n

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Hilal \u015feklindeki bu k\u0131sm\u0131n sa\u011f alt taraf\u0131nda tavan\u0131 boyamak i\u00e7in kullan\u0131lan iskelenin izi g\u00f6r\u00fclmektedir. (PDArt) (Kamusal Alan)<\/figcaption><\/figure><\/div>\n\n\n\n

Yard\u0131mc\u0131 deste\u011fi sadece s\u0131radan g\u00f6revler i\u00e7in kullan\u0131lmad\u0131. Tecr\u00fcbesi ya da yetene\u011fi yetersiz gelen asistanlar ger\u00e7ekten de s\u0131va ya da boya haz\u0131rlamaktan ba\u015fka bir \u015fey yapm\u0131yorlard\u0131. Ancak resmin \u00e7o\u011funu, daha fazla deneyime ve yetene\u011fe sahip olanlar, ustan\u0131n g\u00f6zetiminde ve ayr\u0131nt\u0131l\u0131 planlar\u0131na uygun olarak yapt\u0131lar. Tipik olarak freskin daha az karma\u015f\u0131k k\u0131s\u0131mlar\u0131n\u0131 boyuyorlard\u0131. Bu par\u00e7alar\u0131n g\u00f6receli basitli\u011fi, ustalar\u0131n ve yard\u0131mc\u0131lar\u0131n \u00e7al\u0131\u015fmalar\u0131 aras\u0131ndaki farklar\u0131 \u00f6nemsiz hale getirdi.<\/p>\n\n\n\n

Yarat\u0131c\u0131 bir usta elinin, yetenekli bir asistan elinden, teknik a\u00e7\u0131dan daha iyisini yapamamas\u0131 tuhaf g\u00f6r\u00fcnebilir. Ancak fresk ve tuval \u00fczerine ya\u011fl\u0131 boya yap\u0131m\u0131 aras\u0131ndaki farka bak\u0131ld\u0131\u011f\u0131nda bunun nedeni kolayca anla\u015f\u0131l\u0131r.<\/p>\n\n\n\n

Ya\u011fl\u0131 boya ile \u00e7al\u0131\u015fan sanat\u00e7\u0131lar \u00f6nce tuvalin y\u00fczeyini boyar. Bu, \u00f6nceki boya kuruduktan sonra ilaveler yap\u0131labilece\u011fi anlam\u0131na gelir. Ayn\u0131 zamanda, bir sanat\u00e7\u0131n\u0131n istedi\u011fi kadar \u00e7ok veya az boya kullanabilece\u011fi anlam\u0131na gelir.<\/p>\n\n\n\n

B\u00f6yle bir uygulama y\u00f6ntemi, her f\u0131r\u00e7a darbesiyle farkl\u0131 bir deneme yap\u0131lmas\u0131na izin verir. Bu bir ustan\u0131n yarat\u0131c\u0131 zihninin i\u015fidir. \u00c7ok say\u0131da boya tabakas\u0131, en k\u00fc\u00e7\u00fck par\u00e7alarda bile daha karma\u015f\u0131k ayr\u0131nt\u0131lar olu\u015fmas\u0131na olanak tan\u0131r. Bu bir ustan\u0131n el becerisidir.<\/p>\n\n\n\n

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Kompozisyonun b\u00f6l\u00fcmlerini desteklemek i\u00e7in Michelangelo taraf\u0131ndan yarat\u0131lm\u0131\u015f bir fig\u00fcr olan bu ignudo\u2019nun ba\u015f ve kol \u00e7evresinde bir g\u00fcnl\u00fck \u00e7al\u0131\u015fma i\u00e7in s\u00fcr\u00fclm\u00fc\u015f s\u0131van\u0131n izleri g\u00f6r\u00fclebilir. (Kamusal Alan)<\/figcaption><\/figure><\/div>\n\n\n\n

Fresk sanat\u00e7\u0131lar\u0131, duvar veya tavan\u0131n bir par\u00e7as\u0131nda, \u0131slak s\u0131va \u00fczerinde \u00e7al\u0131\u015f\u0131rlar. Al\u00e7\u0131 s\u0131va \u0131slakken boyama i\u015fi bitirilmelidir. Bu i\u015flemin iki sonucu vard\u0131r:<\/p>\n\n\n\n

\u0130lk olarak, boyama s\u0131ras\u0131nda deneme yapmak mant\u0131ks\u0131zd\u0131r. Al\u00e7\u0131 \u00e7ok \u00e7abuk kurur ve sanat\u00e7\u0131lar\u0131n resim yaparken planlar\u0131n\u0131 yeniden d\u00fc\u015f\u00fcnmelerine f\u0131rsat vermez. Herhangi bir de\u011fi\u015fiklik i\u00e7in, al\u00e7\u0131n\u0131n bir b\u00f6l\u00fcm\u00fcn\u00fcn k\u0131r\u0131larak \u00e7\u0131kar\u0131lmas\u0131 ve \u00fczerindeki t\u00fcm resmin tekrar yap\u0131lmas\u0131 gerekir.<\/p>\n\n\n\n

\u0130kincisi, freskteki resimler boyutlar\u0131ndan dolay\u0131 ya\u011fl\u0131 boyadaki kadar ayr\u0131nt\u0131l\u0131 olamaz. Bu, hem daha az detayland\u0131rma hem de daha b\u00fcy\u00fck detaylar anlam\u0131na gelir. Daha b\u00fcy\u00fck detaylar\u0131n boyanmas\u0131, k\u00fc\u00e7\u00fck olanlardan daha kolayd\u0131r.<\/p>\n\n\n\n

B\u00f6yle bir uygulama, bir freskin i\u00e7erisinde ustan\u0131n el becerisinden yararlanabilecek alan\u0131 s\u0131n\u0131rlar. Ayn\u0131 zamanda, \u00f6nceden var olan bir tasar\u0131ma s\u0131k\u0131 s\u0131k\u0131ya ba\u011fl\u0131 kalmay\u0131 gerekli k\u0131lar.<\/p>\n\n\n\n

Her \u015eey Tasar\u0131mda<\/strong><\/h3>\n\n\n\n

Bir fresk sanat\u00e7\u0131s\u0131 i\u00e7in i\u015finin tasar\u0131m\u0131 yaratma a\u015famas\u0131, bir ya\u011fl\u0131 boya ressam\u0131n\u0131n tuvalinde yapt\u0131\u011f\u0131na en \u00e7ok benzeyen k\u0131sm\u0131d\u0131r. Fresk sanat\u00e7\u0131s\u0131 haz\u0131rl\u0131k \u00e7izimlerini yaparken, denemeler yapmak i\u00e7in imk\u00e2n\u0131 ve zaman\u0131 vard\u0131r. \u00c7izimler tamamland\u0131\u011f\u0131nda, denemeler de sona erer.<\/p>\n\n\n\n

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Michelangelo\u2019nun Sistine tavan\u0131n\u0131n mimari ana hat tasla\u011f\u0131 (Archivio Buonarroti, XIII, 175v) ile tavan\u0131n alt\u0131ndan bir g\u00f6r\u00fcn\u00fcm aras\u0131ndaki kar\u015f\u0131la\u015ft\u0131rma. Adriano Marinazzo (2013) taraf\u0131ndan yap\u0131lan kar\u015f\u0131la\u015ft\u0131rma. (Verdiana1974\/CC BY-SA 4.0)<\/figcaption><\/figure><\/div>\n\n\n\n

Son \u00e7izimler, planlanan freskin tam boyutunda haz\u0131rlan\u0131rd\u0131. \u0130\u00e7lerine k\u00fc\u00e7\u00fck delikler a\u00e7\u0131l\u0131r ve boyanacak y\u00fczeye sabitlenirlerdi. Daha sonra deliklerden itilen k\u00f6m\u00fcr tozu ile freskteki fig\u00fcrlerin ana hatlar\u0131 \u00e7izilirdi. Son olarak resmin \u00e7o\u011funu yapmalar\u0131 i\u00e7in asistanlara g\u00fcvenilebilirdi.<\/p>\n\n\n\n

Ustan\u0131n el becerisine en \u00e7ok, \u00f6nemli fig\u00fcrler ve arka plan\u0131n daha ayr\u0131nt\u0131l\u0131 par\u00e7alar\u0131nda ihtiya\u00e7 duyulurdu. Bunlar\u0131n \u00e7izimleri asla yeterince ayr\u0131nt\u0131l\u0131 olamazd\u0131.<\/p>\n\n\n\n

Ustan\u0131n \u00e7al\u0131\u015fmalar\u0131 kendi zihninden gelmeliydi. Zihnindeki fikri ilk denemede m\u00fckemmel bir \u015fekilde boyaya aktarmas\u0131 gerekiyordu. Ve bunu yaparken s\u0131k\u0131 bir zaman \u00e7izelgesini takip etmek zorundayd\u0131. Buradaki ba\u015far\u0131, resmin en b\u00fcy\u00fck ustal\u0131klar\u0131 aras\u0131ndayd\u0131.<\/p>\n\n\n\n

Herkesin Yarar\u0131na<\/strong><\/h3>\n\n\n\n

Gerekli yeteneklerin kazan\u0131lmas\u0131, sadece okuldaki uygulamalarla sa\u011flanamazd\u0131. R\u00f6nesans \u00e7\u0131raklar\u0131 ustalar\u0131n\u0131n yard\u0131mc\u0131s\u0131 olarak \u00e7al\u0131\u015ft\u0131lar. Daha sonra tam e\u011fitimli asistanlar olarak \u00e7al\u0131\u015ft\u0131r\u0131ld\u0131lar. Daha sonra kimlerin bu g\u00f6revlerde kalaca\u011f\u0131 ve kimin usta olaca\u011f\u0131 yeteneklerine g\u00f6re belirlendi.<\/p>\n\n\n\n

Bu tak\u0131m \u00e7al\u0131\u015fmas\u0131 yakla\u015f\u0131m\u0131, R\u00f6nesans\u2019\u0131n ba\u015far\u0131lar\u0131n\u0131n merkezinde yer al\u0131yordu. Bunun sayesinde b\u00fcy\u00fck ustalar eser say\u0131s\u0131n\u0131 art\u0131rd\u0131lar. Daha k\u00fc\u00e7\u00fck sanat\u00e7\u0131lar, \u201carta kalan sipari\u015fleri\u201d almak ve daha de\u011fersiz eserleri boyamak yerine, b\u00fcy\u00fck eserlere katk\u0131da bulundular.<\/p>\n\n\n\n

Dehalar, sanat\u0131 b\u00fcy\u00fck bir geleneksel olu\u015fumdan son derece bireysel sanat yorumlar\u0131na kademeli olarak in\u015fa edebildiler. T.S. Eliot bu birle\u015fimin \u00fcst\u00fcn sanatsal ba\u015far\u0131 i\u00e7in gerekli oldu\u011funu vurgulad\u0131.<\/p>\n\n\n\n

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Sistine \u015eapeli\u2019nin tavan\u0131, \u201cemsali olmayan sanatsal bir hayal g\u00fcc\u00fc\u201d (Qypchak\/CC BY-SA 3.0)<\/figcaption><\/figure><\/div>\n\n\n\n

Yazan: JAMES BARESEL, The Epoch Times
\u00c7eviren: Hatice Atmaca, Epoch Times T\u00fcrkiye<\/p>\n","protected":false},"excerpt":{"rendered":"

Michelangelo, Sistine \u015fapeli tavan\u0131n\u0131 kendi standartlar\u0131na g\u00f6re tamamlamak i\u00e7in asistanlarla \u00e7al\u0131\u015ft\u0131 Neredeyse d\u00f6rt y\u0131l boyunca Vatikan Tepesi\u2019nde herkes ayn\u0131 manzaray\u0131 g\u00f6rd\u00fc. Sekiz ila on iki adam \u00e7e\u015fitli g\u00f6revlerde \u00e7al\u0131\u015f\u0131yordu: Al\u00e7\u0131y\u0131 kar\u0131\u015ft\u0131r\u0131yor, al\u00e7\u0131n\u0131n yap\u0131\u015fmas\u0131 i\u00e7in kazma ile tavan y\u00fczeyine p\u00fcr\u00fcz veriyor, s\u0131va ve boya yap\u0131yorlard\u0131. Bu kula\u011fa s\u0131radan bir in\u015faat i\u015fi gibi geliyor, de\u011fil mi? Asl\u0131nda […]<\/p>\n","protected":false},"author":12379,"featured_media":139326,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_yoast_wpseo_focuskw":"","_yoast_wpseo_title":"","_yoast_wpseo_metadesc":"","_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":"","_yoast_wpseo_focuskw_text_input":""},"categories":[519,6916,16],"tags":[],"yoast_head":"\nBir Ustan\u0131n Yard\u0131mc\u0131lar\u0131: Michelangelo\u2019nun Sistine Tavan\u0131 - The Epoch Times TR<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/epochtimestr.com\/index.php\/bir-ustanin-yardimcilari-michelangelonun-sistine-tavani\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bir Ustan\u0131n Yard\u0131mc\u0131lar\u0131: Michelangelo\u2019nun Sistine Tavan\u0131 - The Epoch Times TR\" \/>\n<meta property=\"og:description\" content=\"Michelangelo, Sistine \u015fapeli tavan\u0131n\u0131 kendi standartlar\u0131na g\u00f6re tamamlamak i\u00e7in asistanlarla \u00e7al\u0131\u015ft\u0131 Neredeyse d\u00f6rt y\u0131l boyunca Vatikan Tepesi\u2019nde herkes ayn\u0131 manzaray\u0131 g\u00f6rd\u00fc. Sekiz ila on iki adam \u00e7e\u015fitli g\u00f6revlerde \u00e7al\u0131\u015f\u0131yordu: Al\u00e7\u0131y\u0131 kar\u0131\u015ft\u0131r\u0131yor, al\u00e7\u0131n\u0131n yap\u0131\u015fmas\u0131 i\u00e7in kazma ile tavan y\u00fczeyine p\u00fcr\u00fcz veriyor, s\u0131va ve boya yap\u0131yorlard\u0131. Bu kula\u011fa s\u0131radan bir in\u015faat i\u015fi gibi geliyor, de\u011fil mi? 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