Görüntüleme
85
İndirme
33
Peyzaj, resim sanatı içinde vazgeçilmez bir konudur ve tarih boyunca bütün sanatçılar tarafından uygulanmıştır. Doğa, sanatçıya her zaman bir esin kaynağı olmuş, yeryüzü, deniz ve gökyüzü sanatçıyı etkilemiş ve sanatçılar doğa imgelerini taklit ederek gördüklerini yansıtmaya çalışmışlardır. Matrakçı Nasuh da 16. yüzyıl klasik Osmanlı minyatür sanatçıları arasında insansız doğa ve kent görünümlerini konu alan minyatürleriyle kendine farklı bir yer oluşturmuş, hatta bu konusu doğa olan minyatürleriyle döneminde yeni bir tür yaratmış da denilebilir. Resmin istenen uyum ve düzen içinde, biçimlerin birbirleriyle olan oranları ve yüzeydeki yerleşimleri önemlidir ve bu kaygı da kompozisyon sorununu doğurur. Bütün resim konularında olduğu gibi Peyzaj konulu resimlerde de sanatçı düzen konusunda çalışmasının bütünlüğünü oluşturma isteği duyar. Bu bütünlüğü oluşturma işine de kompozisyon denilmektedir. Bu çalışmada amaç resim sanatında kompozisyon koşullarını irdelemek, resim sanatında peyzajın önemine değinmek. Bu amaçla Matrakçı Nasuh’un üç eserinden (Beyan-ı Menazi-i Sefer-i Irakey, Süleymanname- Tarih-i Feth-i Şiklos ve Estürgon ve Üstunbelgrad, Tarih-i Sultan Bayezid) biri olan ve 1537 yılında Kanuni Süleyman’ın İran-Irak seferini konu alan Beyan-ı Menazi-i Sefer-i Irakey isimli en önemli eserinden seçilen altı peyzaj minyatürünün, kompozisyon yapısına değinilerek altın oran ve üçler kuralına göre incelenmiştir. Ayrıca Gestalt Kuramının 1.Şekil-Zemin İlişkisi, 2.Yakınlık, 3.Süreklilik-Devamlılık, 4.Benzerlik ve 5. Tamamlama gibi beş ana başlığına göre inceleyerek sanatçının düzen anlayışı ortaya konmaya çalışılmıştır. Bu çalışmanın sonucunda incelenen minyatürlerde Matrakçı Nasuh’un çoğunlukla kapalı kompozisyonu kullandığı, ölçülerde ve iç bölüntülerinde ise altın oran ve üçler kuralını da kullandığı gözlenmiştir. Ayrıca incelenen minyatürlerde sanatçının Gestalt Kuramının temel ilkelerini kullanarak eserlerindeki algılamayı bütünlük içinde gerçekleştirdiği görülmüştür.
Landscape is an indispensable subject in the painting art and has been applied by all the artists throughout history. Nature has always been an inspiration for the artist, the earth, the sea and the sky have influenced the artist, and the artists have tried to reflect what they see by imitating the images of nature. Matrakçı Nasuh also created a different place among the 16th century classical Ottoman miniature artists with its miniatures on the subject of the unhuman nature and city appearances, and it can also be said to have created a new species in the period with its miniatures on the subject of nature. In the desired harmony and order of the picture, the proportions of the forms to each other and the settlements on the surface are important, and this concern also causes the problem of composition. As with all the painting subjects, the landscape subjects also want to create the integrity of the work of the artist on the order. This work is also called composition. The aim of this study is to evaluate the composition conditions in painting art, to emphasize the importance of landscape in painting art. For this purpose, one of the three works of the Matracci Nasuh (Bean-i Menazi-i Sefer-i Irakey, Suleymanname-i History-i Feth-i Shiklos and Esturgon and Üstunbelgrad, History-i Sultan Bayezid) and in 1537 the Law-i Suleyman's Iran-Irak flight was chosen from the most important work named Menazi-i Sefer-i Irakey, the six landscape miniature, referring to the composition structure, was studied according to the rule of gold and three. Also the Gestalt Theory of the 1st Shape-Land Relationship, 2nd Close, 3. Continuity-Continuity, 4 and 5. According to the five main titles of the completion, the artist’s understanding of the order was tried to be revealed. In the minyatures studied by this study, it was observed that the Matracist Nasuh used mostly the closed composition, and in its dimensions and internal divisions the rule of gold and the rule of trials. It is also seen that in the studied miniatures the artist realizes the perception in his works in integrity using the basic principles of the Gestalt Theory.
Landscape painting is an indispensable subject of art and the artists worked on the subject throughout the history. Nature is always a source of inspiration. Earth, sea and sky affect artists and they imitate the natural view trying to reflect their vision. Matrakçı Nasuh is a Sixteenth century’s Classical Ottoman miniature artists who worked on landscapes and cityscapes without human figures. With these miniatures, he created a different place for himself and with the subject of his works he created a new genre in his era. Proportions between figures and placement of them on the picture plane are important in painting within the need of harmony and order and it creates a problem of composition. The landscape painting, as same as the other subjects of art, the artist intent to achieve integrity in their work. This need of integrity is called composition. The purpose of this work is to examine conditions of composition and mention the importance of landscape painting in art. Moreover, from the three works of Matrakçı Nasuh which are called; Beyan-I Menazi-I Seferi Irakey, Süleymanname- Tarih-I Feth-I Şiklos and Estürgon and Üstunbelgrad, Tarih-i Sultan Beyazid, the one called Beyan-I Menazi-I Sefer-I Irakey which subjects the expedition of Iran- Iraq in 1537 were chosen to be analyzed under the concept of composition, rule of thirds, golden ratio and 1. Figure-ground relation, 2. Proximity, 3. Continuity, 4. Similarity, and 5. Completion which are the principles of Gestalt. The aim is to explore the composition style of the artist. The six miniatures examined from the Sixteenth century’s Classical Ottoman miniature artist Matrakçı Nasuh, reveals that mostly close composition was used, also the painting area was composed to fit in the rule of thirds and the golden ratio. Moreover, the examined miniatures of the artist are composed according to the basic principles of Gestalt in order to achieve integrity in the perception.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Dergi Türü : Uluslararası
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