{"id":1741,"date":"2009-12-02T19:38:31","date_gmt":"2009-12-02T16:38:31","guid":{"rendered":"http:\/\/localhost\/wordpress\/2009\/12\/02\/kubizm\/"},"modified":"2009-12-02T19:38:31","modified_gmt":"2009-12-02T16:38:31","slug":"kubizm","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2009\/12\/02\/kubizm\/","title":{"rendered":"K\u00dcB\u0130ZM"},"content":{"rendered":"
\n
<\/span><\/p>\n
\n

<\/a><\/div>\n

Prag’da K\u00fcbist bir ev<\/p><\/div>\n<\/div>\n<\/div>\n

K\u00fcbizm<\/strong>, 20. y\u00fczy\u0131l ba\u015f\u0131ndaki temsile dayal\u0131 sanat anlay\u0131\u015f\u0131ndan saparak devrim yapan Frans\u0131z sanat ak\u0131m\u0131d\u0131r. Pablo Picasso ve Georges Braque, nesne y\u00fczeylerinin ard\u0131na bakarak konuyu ayn\u0131 anda de\u011fi\u015fik a\u00e7\u0131lardan sunabilecek geometrik<\/span> \u015fekilleri vurgulam\u0131\u015flard\u0131r.<\/p>\n

Tarihi<\/span><\/strong> <\/span><\/p>\n

20. yy. ba\u015flar\u0131nda ortaya \u00e7\u0131km\u0131\u015ft\u0131r. K\u00fcbizm<\/em> terimi I. D\u00fcnya Sava\u015f\u0131’ndan \u00f6nceki y\u0131llarda Paris’te geli\u015fen bir resim ak\u0131m\u0131n\u0131 belirtir. O d\u00f6nemde Avrupa’da bi\u00e7imlenmekte olan modern sanat\u0131n \u0131\u015f\u0131\u011f\u0131n ge\u00e7ici etkilerini resmetmek olan izlenimcilerden ho\u015fnut olmayan bir gen\u00e7 ressamlar ku\u015fa\u011f\u0131 yeti\u015fiyordu; bunlar, Matisse’in \u00e7evresinde toplanm\u0131\u015f olan fov<\/em>lar\u0131n \u00e7ok renkli resim sanat\u0131ndan da ho\u015flanm\u0131yorlard\u0131. Empresyonizm’e egemen olan g\u00f6rme duygusu yerine, K\u00fcbist’ ler akl\u0131n ba\u015fatl\u0131\u011f\u0131na dayanan akl\u0131n g\u00fcc\u00fcn\u00fc ortaya koymak istiyorlard\u0131.Tablolar\u0131n\u0131 sa\u011flam temellere oturtmak istiyor ve bu konuda ressam Paul Cezanne<\/span>‘\u0131n izinden gidiyorlard\u0131. Nitekim bu ressamlar, Cezanne’dan, onun son Provence manzaralar\u0131ndan ve nat\u00fcrmortlar\u0131ndan esinlenecekler, bundan da k\u00fcbizm do\u011facakt\u0131. Manifestosu yazan Apollinaire, bir taklit sanat de\u011fil tasar\u0131m sanat\u0131 oldu\u011funu s\u00f6yler.<\/p>\n

\u0130\u00e7 i\u00e7e ge\u00e7mi\u015f hacimler<\/span><\/strong> <\/span><\/p>\n

K\u00fcbizm<\/em> ad\u0131, Georges Braque’\u0131n bir tablosunu g\u00f6ren Matisse<\/span>‘in bu tablo i\u00e7in \u00abk\u00fc\u00e7\u00fck k\u00fcpler\u00bb s\u00f6z\u00fcn\u00fc kullanmas\u0131yla ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Bir yan\u0131lg\u0131 sonucu yeni resme uygulanan bu deyim, Picasso ve Georges Braque’\u0131n o tarihlerde birbirine pek benzeyen ilk k\u00fcbist eserleri konusunda bir fikir verebilir. Her ikisi de hacimlerin i\u00e7 i\u00e7e ge\u00e7ti\u011fi portreler, manzaralar, nat\u00fcrmortlar \u00e7izmekteydi. Onlar iki boyutlu (en ve boy) olan tuvalin<\/span> y\u00fcz\u00fcne do\u011fada \u00fc\u00e7 boyutlu (en, boy, derinlik) olan nesneleri \u00e7izebilmenin \u00e7arelerini ara\u015ft\u0131r\u0131yorlard\u0131. Bu, yeni bir sorun de\u011fildi; b\u00fct\u00fcn resim sanat\u0131n\u0131n sorunuydu; ama o zamana kadar, derinlik izlenimi perspektif arac\u0131l\u0131\u011f\u0131yla verilebiliyordu.<\/p>\n

Picasso ile Braque, her \u015feyden \u00f6nce bir tablonun ne oldu\u011funu unutturan bu \u00e7\u00f6z\u00fcm yolunu bir yana b\u0131rakt\u0131lar: Tablo, asl\u0131nda d\u00fcmd\u00fcz bir y\u00fczeydir. Braque ile Picasso, bi\u00e7imleri tuvalin \u00fczerine kademeli s\u0131ralayarak \u00fcst \u00fcste yerle\u015ftirdiler. Zaten onlar\u0131n niyeti, ger\u00e7e\u011fi g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi de\u011fil, oldu\u011fu gibi g\u00f6stermekti: Yerimizi de\u011fi\u015ftirmeden bir nesneye bakt\u0131\u011f\u0131m\u0131z zaman onun sadece bir k\u0131sm\u0131n\u0131, bir k\u00f6\u015fesini veya bir y\u00fcz\u00fcn\u00fc g\u00f6r\u00fcr\u00fcz.<\/p>\n

K\u00fcbistler ise nesneleri, sanki \u00e7evresinde dola\u015f\u0131yorlarm\u0131\u015f gibi, birka\u00e7 bak\u0131\u015f a\u00e7\u0131s\u0131ndan, cepheden, yandan, \u00fcstten, alttan bakarak ayn\u0131 imge \u00fczerinde g\u00f6stereceklerdir. Ayn\u0131 \u015fekilde, bir y\u00fcz\u00fc hem yandan, hem de iki g\u00f6z\u00fc g\u00f6r\u00fclecek bi\u00e7imde (karma\u015f\u0131k g\u00f6r\u00fcnt\u00fc) vereceklerdir.<\/p>\n

1911’e do\u011fru Braque ve Picasso i\u00e7in, nesneleri kat kat a\u00e7\u0131p saydam k\u00fc\u00e7\u00fck y\u00fczeylere b\u00f6lmek, kenar \u00e7izgilerini k\u0131rmak, ger\u00e7ek bir oyun haline geldi; o kadar ki, neyin resmini yapt\u0131klar\u0131n\u0131 anlamak giderek zorla\u015ft\u0131. \u0130ki ressam o s\u0131ralarda Avrupa’n\u0131n ba\u015fka merkezlerinde do\u011fmakta olan soyut sanata \u00e7ok yakla\u015fm\u0131\u015f bulunmaktad\u0131r.<\/p>\n

Resme ger\u00e7e\u011fi sokmak<\/span><\/strong> <\/strong><\/p>\n

K\u00fcbistler, sanatlar\u0131n\u0131 geli\u015ftirirken ger\u00e7e\u011fi tamamen \u00f6zg\u00fcn bir bi\u00e7imde resim sanat\u0131na sokmak amac\u0131n\u0131 g\u00fctt\u00fcler: resme tamamen yabanc\u0131 \u00f6\u011feleri (k\u00e2\u011f\u0131t, gazete par\u00e7alar\u0131, kibrit \u00e7\u00f6pleri) tablolar\u0131na yap\u0131\u015ft\u0131rd\u0131lar. \u00dcstelik boyalar\u0131na kum kar\u0131\u015ft\u0131rd\u0131klar\u0131 da oluyordu. B\u00fct\u00fcn bunlar g\u00fcn\u00fcm\u00fcz resim sanat\u0131nda s\u0131k s\u0131k rastlanan \u015feylerdir, ama o d\u00f6nemde hi\u00e7 g\u00f6r\u00fclmemi\u015fti. K\u00fcbistler bunu hem ger\u00e7ek ile ili\u015fkilerini yitirmediklerini g\u00f6stermek, hem de resimde imtiyazl\u0131 madde diye bir \u015fey olmad\u0131\u011f\u0131n\u0131, bir tablonun herhangi bir \u015feyle yap\u0131labilece\u011fini g\u00f6stermek i\u00e7in yapt\u0131lar. Yeter ki, tablo, bi\u00e7imlerin tutarl\u0131 bir kompozisyonunu olu\u015ftursun.<\/p>\n

A\u00e7\u0131kl\u0131k kayg\u0131s\u0131yla, yap\u0131sal \u00e7izgileri iyice azaltt\u0131lar ve kompozisyonlar\u0131na, hemen belirli bir nesneyi akla getiren resmedilmi\u015f bi\u00e7imleri eklediler: s\u00f6zgelimi, bir gitar\u0131 belirtmek i\u00e7in teller ve bir e\u011fri, keman i\u00e7in \u00fczerindeki delikleri, \u015fi\u015fe i\u00e7in ise \u015fi\u015fenin boynunu \u00e7izmekle yetindiler.<\/p>\n

Sanat felsefesi olarak, ayr\u0131 ayr\u0131 yerlerde ge\u00e7en \u015feylerin birlikte ve ayn\u0131 zamanda cereyan etti\u011fini tasavvur ve tasvir etmek d\u00fc\u015f\u00fcncesi ile, kar\u0131\u015f\u0131kl\u0131ktan ho\u015flanma zevkinin birle\u015ftirilerek ifade edilmesi esas\u0131na dayan\u0131r. Nitekim k\u00fcbistlerin eserlerinde karmakar\u0131\u015f\u0131k imajlara ve da\u011f\u0131n\u0131k kelimelere rastlan\u0131r.<\/p>\n

K\u00fcbistler, herhangi bir \u015feyde g\u00f6z\u00fcn t\u00fcrl\u00fc y\u00f6nlerden g\u00f6rebildi\u011fi \u00f6zellikleri, bir arada geometrik \u015fekillerle g\u00f6stermeye \u00e7al\u0131\u015f\u0131r. Bu tarz resimlere k\u00fcbik resim ad\u0131 verilir. K\u00fcbizm, e\u015fyan\u0131n uzakl\u0131k ve yer i\u00e7inde kaplad\u0131\u011f\u0131 hacim kanununu temel hareket noktas\u0131 olarak al\u0131r. Bu ak\u0131ma mensup sanat\u00e7\u0131lar, resimde \u00f6z\u00fcn, de\u011fi\u015fmeyenin pe\u015finde ko\u015ftuklar\u0131n\u0131 savunurlar. Onlara g\u00f6re, konunun sadece g\u00f6r\u00fcnen y\u00f6n\u00fcn\u00fc de\u011fil, g\u00f6r\u00fcnmeyen taraf\u0131n\u0131 da g\u00f6stermek gerekir.<\/p>\n

Bu ak\u0131ma mensup olan edebiyat\u00e7\u0131lar\u0131n gayesi ise, duygularla olaylar\u0131 birbirine kar\u0131\u015ft\u0131rmak, ayr\u0131 ayr\u0131 yerlerde ge\u00e7en olaylar\u0131n birlikte, ayn\u0131 anda oldu\u011funu kabul etmek ve bu anlay\u0131\u015fta eser vermektir. Bu y\u00fczden k\u00fcbistlerin eserleri olduk\u00e7a karma\u015f\u0131kt\u0131r.<\/p>\n

K\u00fcbistler, resimde renk oyunlar\u0131n\u0131n yank\u0131lar\u0131n\u0131, g\u00fcne\u015f \u0131\u015f\u0131nlar\u0131n\u0131n tabiat i\u00e7inde uyand\u0131rd\u0131\u011f\u0131 par\u0131lt\u0131lar\u0131 bir yana b\u0131rakarak, e\u015fyan\u0131n geometrik yap\u0131s\u0131na \u00f6nem vermi\u015flerdir. Bu bak\u0131mdan K\u00fcbizm, tabiat\u0131n yepyeni bir anlay\u0131\u015fla de\u011ferlendirilmesidir denilebilir. Onlar sanatlar\u0131n\u0131n kayna\u011f\u0131n\u0131 duygudan \u00e7ok, d\u00fc\u015f\u00fcncede aram\u0131\u015flar, esere d\u00fc\u015f\u00fcnceyi katarak empresyonistlerin aksine, ilim yoluyla de\u011fil sanat yoluyla sanata varmak prensibini se\u00e7mi\u015flerdir.<\/p>\n

Resimde en b\u00fcy\u00fck temsilcilerinden baz\u0131lar\u0131<\/span><\/strong><\/p>\n

    \n
  • Pablo Picasso<\/li>\n
  • Paul Cezanne<\/span><\/li>\n
  • Georges Braque<\/li>\n
  • Amedeo Modigliani<\/li>\n<\/ul>\n

    Edebiyattaki temsilcilerinden baz\u0131lar\u0131<\/span><\/strong><\/p>\n

      \n
    • Guillaume Apollinaire<\/li>\n
    • Max Jacob<\/span><\/li>\n
    • Blaise Cendrars<\/span><\/li>\n
    • Apollainaire<\/span><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

      Prag’da K\u00fcbist bir ev K\u00fcbizm, 20. y\u00fczy\u0131l ba\u015f\u0131ndaki temsile dayal\u0131 sanat anlay\u0131\u015f\u0131ndan saparak devrim yapan Frans\u0131z sanat ak\u0131m\u0131d\u0131r. Pablo Picasso ve Georges Braque, nesne y\u00fczeylerinin ard\u0131na bakarak konuyu ayn\u0131 anda de\u011fi\u015fik a\u00e7\u0131lardan sunabilecek geometrik \u015fekilleri vurgulam\u0131\u015flard\u0131r. Tarihi 20. yy. ba\u015flar\u0131nda ortaya \u00e7\u0131km\u0131\u015ft\u0131r. K\u00fcbizm terimi I. D\u00fcnya Sava\u015f\u0131’ndan \u00f6nceki y\u0131llarda Paris’te geli\u015fen bir resim ak\u0131m\u0131n\u0131 belirtir. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[85],"tags":[],"class_list":{"0":"post-1741","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-resim-sanati-akimlari"},"yoast_head":"\nK\u00dcB\u0130ZM - narteks.net<\/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:\/\/narteks.net\/index.php\/2009\/12\/02\/kubizm\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"K\u00dcB\u0130ZM\" \/>\n<meta property=\"og:description\" content=\"Prag’da K\u00fcbist bir ev K\u00fcbizm, 20. y\u00fczy\u0131l ba\u015f\u0131ndaki temsile dayal\u0131 sanat anlay\u0131\u015f\u0131ndan saparak devrim yapan Frans\u0131z sanat ak\u0131m\u0131d\u0131r. Pablo Picasso ve Georges Braque, nesne y\u00fczeylerinin ard\u0131na bakarak konuyu ayn\u0131 anda de\u011fi\u015fik a\u00e7\u0131lardan sunabilecek geometrik \u015fekilleri vurgulam\u0131\u015flard\u0131r. Tarihi 20. yy. ba\u015flar\u0131nda ortaya \u00e7\u0131km\u0131\u015ft\u0131r. K\u00fcbizm terimi I. D\u00fcnya Sava\u015f\u0131’ndan \u00f6nceki y\u0131llarda Paris’te geli\u015fen bir resim ak\u0131m\u0131n\u0131 belirtir. 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