Sanat felsefesinde estetik obje çözümlemesi açısından Ebru sanatı
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Dosyalar
Tarih
2014
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Sanat felsefesi, insan tarafından üretilen sanat eserlerini inceler. Bu açıdan sanat, bazen tabiatın taklidi olarak, bazen sanatçının iç dünyasını yansıtan bir anlayış, bazen de sadece sanat olduğu için yapılan bir aktivite olarak ele alınmıştır. Ebru sanatının tarihi hakkında net bilgilere ulaşmak mümkün değildir. Ancak 15 ve 16. Yüzyılda Çin ve Orta Asya’dan İstanbul’a gelmiştir. Daha sonra diğer Avrupa ülkelerine yayılmıştır. Ebru, her dönemde toplumun anlayışına göre, çeşitlilik kazanmıştır. Bu değişim toplumun kültür seviyesi ile ilgilidir. Ebru ilk dönemlerde basit bir kâğıt boyama sanatı iken zamanla battal ebru, taraklı ebru, gel git ebrusu, çiçekli ebru, güllü ebru, karanfil ebru, Necmeddin Okyay ebrusu, Barutçugil ebrusu gibi çeşitler geliştirilmiştir. Herhangi bir sanat eseri önce, sanatçının düşüncesinde gelişir ve olgunlaşır. Daha sonra sanat eserine dönüşür. Üçüncü aşamada sanat eseri sanatseverlerin beğenisine sunulur. Böylece sanat eserinin tamamlanması söz konusudur. Ebru sanatı da aynı şekilde, bu aşamalardan geçtikten sonra bir sanat eseri haline gelir. Sanatçı, ebru sanatını icra ederken kendi dünyasından bir şeyler katar. Bunun sonucu sanat eseri sanatçının kimliğini kazanır. Aynı şekilde sanatsever de kendi dünyasından bir şeyler katarak ebru tablosunu seyreder ve ondan haz alır. Ebru diğer sanat dallarından farklı olarak, aynısının tekrar yapılması asla mümkün olmayan bir sanat türüdür. Bu farklılık, sadece duygu ve zaman açısından değil, bizzat ebrunun kendisi açısından da geçerlidir. Bir başka deyişle kopyasının yapılması asla mümkün değildir. Bu açıdan her ebru tablosu biriciktir.
The Philosophy of art examines works of art produced by people. In this respect, art is handled as an activity by imitating of nature, reflecting of the artist's inner world or creating just for the sake of art. It is impossible to obtain clear information about the history of the marbling art from the early written sources of it. However, we know that marbling art has come to Istanbul from central Asia and China in the 15th and 16th centuries and then has spread to the other European countries. Marbling have gained varieties according to undersatanding of society in each period. This variation is related to the cultural level of the society. While marbling was a simple paper painting in the first period, in time it has been developed into different branches such as lapse marbling, splayed marbling, tide marbling, flowery marbling, rosy marbling, clove marbling, Necmeddin Okyay marbling and Barutçugil marbling. Any work of art develops and matures in an artist's mind and then becomes into existence. In the next stage, work of art is presented to admiration of art lovers. Thus, the work of art is to be completed in the final period. In same way, art of marbling becomes a work of art after passing this stage at all. While the artist is performing art of marbling, he adds something from his world. As a result of this, the work reflects identity of what the artist has. Likewise, lover of art watches marbling table by adding something from his world as well and get pleasure from it. Marbling, unlike other art forms, is a kind of art which is able to be never created again in the same form. This difference is not only possible in terms of emotion and time, but also from viewpoint of marbling itself is. In other words, it is never possible to duplicate of it. In this respect, each marbling is unique.
The Philosophy of art examines works of art produced by people. In this respect, art is handled as an activity by imitating of nature, reflecting of the artist's inner world or creating just for the sake of art. It is impossible to obtain clear information about the history of the marbling art from the early written sources of it. However, we know that marbling art has come to Istanbul from central Asia and China in the 15th and 16th centuries and then has spread to the other European countries. Marbling have gained varieties according to undersatanding of society in each period. This variation is related to the cultural level of the society. While marbling was a simple paper painting in the first period, in time it has been developed into different branches such as lapse marbling, splayed marbling, tide marbling, flowery marbling, rosy marbling, clove marbling, Necmeddin Okyay marbling and Barutçugil marbling. Any work of art develops and matures in an artist's mind and then becomes into existence. In the next stage, work of art is presented to admiration of art lovers. Thus, the work of art is to be completed in the final period. In same way, art of marbling becomes a work of art after passing this stage at all. While the artist is performing art of marbling, he adds something from his world. As a result of this, the work reflects identity of what the artist has. Likewise, lover of art watches marbling table by adding something from his world as well and get pleasure from it. Marbling, unlike other art forms, is a kind of art which is able to be never created again in the same form. This difference is not only possible in terms of emotion and time, but also from viewpoint of marbling itself is. In other words, it is never possible to duplicate of it. In this respect, each marbling is unique.
Açıklama
Anahtar Kelimeler
Sanat Felsefesi, Sanat, Ebru, Tecelli, Hikmet Barutçugil, The Philosophy of Art, Art, Marbling, Transfiguration, Hikmet Barutcugil
Kaynak
Turkish Studies (Elektronik)
WoS Q Değeri
Scopus Q Değeri
Cilt
9
Sayı
11