Görüntüleme
7
Toplumun dinamiklerine göre kendini sürekli olarak güncelleyen sanat, sanatçının tinsel anlayışını ve içinde bulunduğu çağın biçimine, olgusuna göre bir yansıtma şeklidir. Bu yansıtmayı ifade ederken renk, çizgi ve geometrik biçimler gibi plastik değerleri referans alır. Bunu da sanatçı kendi spesifik anlayışıyla yorumlar. XIX yüzyılın sonlarına doğru ortaya çıkan Modern Sanat’ın temel nedenlerinden biri 18.yüzyılın sonunda Fransız devrimi ile birlikte gerçekleşen sosyokültürel etkileşim olguları ve daha sonra ortaya çıkan fotoğrafın icadı ve yaygınlaşmasıdır. Dolayısıyla sanatçılar resim sanatın devamı için farklı kapıları aralamışlardır. Bu aralayan kapılar, sanatçının içsel yolu ve doğada bulunmayan geometrik biçimlerdir. Modern sanatın öncesinde iki boyutlu form yüzeyine üç boyutlu yansıması hâkim iken modern sanatta bu anlayış kırılmıştır. Bu anlayışı da soyut’lama ilkesi ile gündeme girmiştir. Bu ilkelerden yola çıkan Malevich, Lissitzky, Popova, Rozanova, Strzeminski, Mondrian ve Doesburg gibi duayen sanatçıların ortak yönleri olan soyut’lama kavramını kişisel yorumlarıyla harmanlayarak ifade etme biçimidir. Bu çalışmada sanatçıların soyut’lama mantalitesinden yola çıkarak kendine göre yorumları ve farklı dil ile anlatım biçimleri dikkate alınmıştır. Aynı zamanda geometrik soyut’lama anlayışından, temel geometrik şekillerin yalın bir biçimde bir araya getirmesi, realist imgelerin yer almadığı anti-figüratif hususuna dayaması, duygularını tinsel olarak nasıl yansıttığını ve nasıl ifade ettiğini ele alınmıştır. Ayrıca, soyut’lama anlayışının sanat felsefesine olan katkı sağlama açısından bir araştırma niteliğinde olacaktır.
Art, which is constantly updated according to the dynamics of society, is a form of reflection according to the artist's sexual understanding and the form of the age in which it is. When expressing this reflection, it takes reference to plastic values such as color, line and geometric shapes. The artist also expresses this with his own specific understanding. One of the main reasons for modern art that appeared to the end of the nineteenth century is the social-cultural interaction events that occurred with the French revolution at the end of the eighteenth century and the invention and spread of the photograph that later emerged. Therefore, the artists have opened different doors for the continuation of the painting art. These bridging doors are the artist’s inner path and geometric forms that are not in nature. This concept was broken in modern art, while the three-dimensional reflection dominated on the two-dimensional form surface before modern art. This concept has also come into force with the principle of abstinence. The outcome of these principles is the way of expressing the concept of abstraction, which is the common aspects of artists such as Malevich, Lissitzky, Popova, Rozanova, Strzeminski, Mondrian and Doesburg, by combining with personal interpretations. In this study, the artists have taken into account their interpretations and different languages and forms of narration, starting from the abstract mantality of the artists. At the same time, from the concept of geometric abstraction, it has been discussed how the basic geometric shapes gather together in a simple form, how the realistic images rely on the anti-figurative aspect where they do not include, how they sexually reflect their feelings and how they express them. It will also be a research in terms of contributing the concept of abstraction to the art philosophy.
The art, which constantly updates itself according to the dynamics of the society, is a way of reflecting the spiritual understanding of the artist and the form and phenomenon of the age in which he lives. While expressing this reflection, it refers to plastic values such as color, line and geometric shapes. The artist interprets this with his own specific understanding.One of the main reasons for Modern Art that emerged towards the end of the XIX century is the sociocultural interaction phenomena that took place with the French Revolution at the end of the 18th century and the invention and spread of photography that emerged later. Therefore, artists have opened different doors for the continuation of painting. These opening doors are the artist's inner path and geometric forms not found in nature. While three-dimensional reflection on the two-dimensional form surface was dominant before modern art, this understanding has been broken in modern art. This understanding has also entered the agenda with the principle of abstraction. Based on these principles, it is a way of expressing the concept of abstraction, which is common to doyen artists such as Malevich, Lissitzky, Popova, Rozanova, Strzeminski, Mondrian and Doesburg, by blending them with their personal interpretations. In this study, based on the abstraction mentality of the artists, their own interpretations and different language and expression styles were taken into consideration. At the same time, the concept of geometric abstraction, bringing together basic geometric shapes in a simple way, basing on the anti-figurative issue without realist images, how he reflects his emotions spiritually and how he expresses them are discussed. In addition, it will be a research in terms of contributing to the philosophy of art of abstraction.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Dergi Türü : Uluslararası
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