{"id":4198,"date":"2010-02-11T13:37:48","date_gmt":"2010-02-11T10:37:48","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/02\/11\/resim-sanatiyla-felsefenin-iliskisi-omer-uluc\/"},"modified":"2010-02-11T13:37:48","modified_gmt":"2010-02-11T10:37:48","slug":"resim-sanatiyla-felsefenin-iliskisi-omer-uluc","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/02\/11\/resim-sanatiyla-felsefenin-iliskisi-omer-uluc\/","title":{"rendered":"Resim Sanat\u0131yla Felsefenin \u0130li\u015fkisi | \u00d6mer Ulu\u00e7"},"content":{"rendered":"![](\"images\/stories\/resimfelsefe.jpg\")
Sanatlar, d\u00fc\u015f\u00fcnce ve felsefe bak\u0131\u015f\u0131rlar; \u00abne oluyoruz?\u00bb \u00fczerinde temellenen ele\u015ftirel bir bak\u0131\u015f\u0131md\u0131r bu. \u00dclkemizde, \u00abbiz iyiyiz?\u00bb, \u00absiz nas\u0131ls\u0131n\u0131z?\u00bba dayanan bir durum s\u00fcr\u00fcp gidiyor. Geni\u015f anla\u015fmalar\u0131n ve s\u0131radan i\u015flerin at ko\u015fturdu\u011fu bir yerde de sanatlar, d\u00fc\u015f\u00fcnce ve felsefe aras\u0131nda bir konu\u015fma ba\u015flamal\u0131; ola\u011fan\u00fcst\u00fc ko\u015fullardan, nas\u0131l oluyor da bu kadar s\u0131radan i\u015fler \u00e7\u0131k\u0131yor? diye sorulmal\u0131d\u0131r herhalde. \u00d6nemli olan, kimin ne yapmas\u0131 gerekti\u011fi de\u011fil (bir ham hayaldir bu), ne yapabilece\u011fi ne olabilece\u011fidir. \u00d6rne\u011fin, genel olarak g\u00fcn\u00fcm\u00fcz T\u00fcrkiyesinde ne yap\u0131labilir; ve \u00f6zel olarak felsefe ne yapabilir? diye sorulabilir. Felsefenin ne yapabilece\u011fi, ne olaca\u011f\u0131 sorusuna cevap vermek benim i\u015fim de\u011fil. Ben ancak, d\u0131\u015fardan bakarak sorular sorabilir; sanatlar\u0131n ve felsefenin kar\u015f\u0131l\u0131kl\u0131 olarak \u00fclkemizde neler yapabilece\u011fi konusunda baz\u0131 s\u00f6zler s\u00f6yleyebilirim. Akla ilk gelen, d\u00fc\u015f\u00fcnce ve sanat alanlar\u0131nda oldu\u011fu gibi, felsefenin de kendi alan\u0131nda, Bat\u0131’da yap\u0131lanlar\u0131 fazla kazaya ugratmaks\u0131z\u0131n al\u0131p buraya getirmesidir; biraz de\u011fi\u015ftirerek, ruhumuza g\u00f6re biraz yo\u011furarak… B\u00f6yle yap\u0131l\u0131nca da, \u015fa\u015f\u0131 ve mutlu bak\u0131\u015f\u0131mlar ortaya \u00e7\u0131kar.<\/p>\n
\u00d6teki u\u00e7ta, felsefi sistemlerin, felsefi \u00e7\u0131\u011f\u0131rlar\u0131n olu\u015fmas\u0131 var. Geni\u015f yollar a\u00e7an bir felsefe sisteminin, genel olarak insan kafas\u0131nda kendili\u011finden do\u011fmayaca\u011f\u0131n\u0131; \u00e7e\u015fitli alanlardaki \u00f6nemli bilimsel bulu\u015flara, \u00e7\u00f6z\u00fcmlemelere ba\u011fl\u0131 oldu\u011funu; onlardan sonra gelerek do\u011fa ve insano\u011flu a\u00e7\u0131s\u0131ndan onlar\u0131n ne gibi bir anlam ta\u015f\u0131d\u0131\u011f\u0131n\u0131 a\u00e7\u0131klay\u0131p evrensel diyebilece\u011fimiz sonu\u00e7lara vard\u0131klar\u0131n\u0131 san\u0131yorum. Bu t\u00fcr bir felsefe ve onda i\u00e7erilmi\u015f olan eylem, yeni yollar a\u00e7ar insano\u011fluna… Bug\u00fcn \u00fclkemizde, bu t\u00fcr bir felsefe anlay\u0131\u015f\u0131na dayanakl\u0131k edecek nitelikte bilimsel bulu\u015flar ve \u00e7\u00f6z\u00fcmlemeler var m\u0131? Ya da yoksa (ki oldu\u011funu s\u00f6ylemek g\u00fc\u00e7), bu \u00abbulunmay\u0131\u015fs\u0131n bilinci \u00fczerinde temellenen ve ba\u015fka yerdeki bulu\u015flar\u0131 \u00f6z\u00fcmleyerek kendi varl\u0131\u011f\u0131n\u0131 kurmaya \u00e7al\u0131\u015fan bir felsefe \u00e7abas\u0131, yarat\u0131c\u0131 olmaya \u00e7al\u0131\u015fan bir didinme var m\u0131?<\/p>\n
Bir ressam olarak konu\u015ftu\u011fumu (siz de ben de) hat\u0131rlayarak devam edelim.<\/p>\n
Tarihi, \u00e7e\u015fitli boyutlar\u0131, \u00f6zg\u00fcll\u00fckleri bak\u0131m\u0131ndan Bat\u0131 d\u0131\u015f\u0131ndaki en \u00f6nemli \u00fclkelerden biri olan T\u00fcrkiye’de, yarat\u0131c\u0131 d\u00fc\u015f\u00fcnce vard\u0131r diyece\u011fim. Ama kapsay\u0131c\u0131 bir felsefe sistemi, g\u00f6r\u00fc\u015f\u00fc, \u00e7\u0131\u011f\u0131r\u0131yaratmasa bile, \u00f6zg\u00fcn sanat ve d\u00fc\u015f\u00fcnce bi\u00e7imleri t\u00fcreyebilir mi bundan?<\/p>\n
Bir yandan toplumumuzun \u00f6zg\u00fcl yanlan, ge\u00e7irdi\u011fi h\u0131zl\u0131 de\u011fi\u015fim; \u00f6te yandan, Bat\u0131’yi taklit etme ve etmeme aras\u0131ndaki iki y\u00fczy\u0131ll\u0131k bo\u011fu\u015fma, ilgin\u00e7 sonu\u00e7lar vermi\u015ftir ve daha da ilgin\u00e7 sonu\u00e7lar verecektir, diyorum. Bug\u00fcn\u00fcn \u00e7aresiz, eksik ve fakir g\u00f6z\u00fckeni, yar\u0131n i\u00e7in bir umut alan\u0131d\u0131r asl\u0131nda. Her yerde rastlanmayan e\u015fsiz delilerimiz vard\u0131r bizim. Ele\u015ftirel zek\u00e2m\u0131z\u0131n, i\u015fte tam burada ortaya \u00e7\u0131kmas\u0131, i\u015flevini yerine getirmesi gerekmez mi? Ortaya \u00e7\u0131kt\u0131\u011f\u0131nda da, sanatlar, d\u00fc\u015f\u00fcnce ve felsefe birbirine bak\u0131\u015f\u0131rlar… Ama buna kar\u015f\u0131n, g\u00fcn\u00fcm\u00fczde, sanat ve d\u00fc\u015f\u00fcnce d\u00fcnyas\u0131n\u0131n bir kesimi, kurumlar, kurulu\u015flar \u00e7evresinde yerini tutmu\u015f, yerine yerle\u015fmi\u015ftir. Bunlar\u0131n \u00fcretti\u011fi sanatsal ya da d\u00fc\u015f\u00fcnsel ideoloji,yapay ama bir bak\u0131ma zorunluk ta\u015f\u0131yan ciddiyetiyle, \u00fclkenin ger\u00e7ek ele\u015ftirel zek\u00e2s\u0131n\u0131 adeta ka\u00e7\u0131n\u0131lmaz bir bi\u00e7imde \u00f6rtmektedir. Bu t\u00fcr ideolojiler, yerli ruhla yo\u011frulmu\u015ftur ku\u015fkusuz; arac\u0131l\u0131k, yerel bir olayd\u0131r; ama \u00e7o\u011funlukla aktarmad\u0131r bunlar, ge\u00e7erlikten yoksundur ve en k\u00f6t\u00fcs\u00fc de s\u0131radand\u0131r. Herkes bu ideolojileri payla\u015f\u0131yor ya da hi\u00e7 kimse bunlara kar\u015f\u0131 \u00e7\u0131km\u0131yor demek istemiyorum. Ama bilgi\u00e7leriyle, b\u00f6b\u00fcrlenenleriyle, kendilerini ne bahas\u0131na olursa olsun be\u011fendirmek isteyenleriyle, kurnazlar\u0131yla, saflar\u0131yla, inan\u0131lmaz \u00f6l\u00e7\u00fcde ince duyarl\u0131kl\u0131lar\u0131yla mutlu \u00e7o\u011funluk b\u00fcy\u00fck bir kalabal\u0131k olu\u015fturmakta; herkesin ve her \u015feyin birbirine kar\u0131\u015farak b\u00fcy\u00fcyen bir \u00e7\u0131\u011f gibi devinmesine yol a\u00e7maktad\u0131r. Hemen kavran\u0131lmas\u0131, be\u011fenilmesi, \u00abyarat\u0131c\u0131lar\u0131na\u00bb, seyircilerine ve t\u00fcketicilerine mutluluk; bir \u00abk\u00fclt\u00fcrl\u00fc \u00e7evreye ba\u011fl\u0131 olma\u00bb duygusu, \u00abad\u0131, \u015furada ya da burada ge\u00e7me doyumu\u00bb veren estetikten ya da d\u00fc\u015f\u00fcnceden s\u00f6z ediyorum. Ama gaddar sanat tarihi, bu patoslu, mitoslu, \u015f\u0131k ve ho\u015f ve bundan \u00f6t\u00fcr\u00fc de s\u0131radan esteti\u011fi, eninde sonunda her zaman geri \u00e7evirmemi\u015f midir?<\/p>\n
S\u0131radan estetik, resmi de, bir tat alma sorununa, yal\u0131nkat bir be\u011feni konusuna d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Resme uyumdan, ho\u015fluktan, s\u0131\u011f ve ki\u015filiksiz be\u011feniden daha uzak ne var! Yarat\u0131c\u0131 resim, resmi be\u011feni (sa\u011fbe\u011feni diyebiliriz) ve donmu\u015f ustal\u0131k sorunu olarak ele alan akademizmden oldu\u011fu gibi bunun tam kar\u015f\u0131t\u0131ndan, yani resim olmayan i\u015faretler toplam\u0131ndan da ayn\u0131 uzakl\u0131ktad\u0131r; d\u0131\u015f\u0131ndad\u0131r bunlar\u0131n. \u00c7ocuklar\u0131n, sinir hastalar\u0131n\u0131n, ressam olmayanlar\u0131n yapt\u0131\u011f\u0131 resimler; duvarlara, kald\u0131r\u0131mlara, kap\u0131lara, s\u0131ras\u0131nda ka\u011f\u0131t par\u00e7alar\u0131na ya da tuvallere \u00e7izilenler ilgin\u00e7tir kimi zaman; s\u0131\u011f bir e\u011fitimle bozulmam\u0131\u015f duyarl\u0131\u011f\u0131 iletirler bize. Bunu, mutlaka ba\u015f k\u00f6\u015feye yerle\u015fmeye \u00e7al\u0131\u015fan k\u00fc\u00e7\u00fck akademizme ye\u011f tutar\u0131m ku\u015fkusuz. \u00d6ld\u00fcr\u00fclmemi\u015f, donmam\u0131\u015f bir renk, bi\u00e7im, dize ve ezgide, bizi yakalayan, bilinmeyeni hat\u0131rlatan, belli belirsiz duyuran bir \u015feyler vard\u0131r; bir gizil sanat vard\u0131r diyebiliriz.<\/p>\n
Ne var ki resim tarihinde, \u00e7ocuk ressam, deli ressam, daha do\u011frusu bilin\u00e7siz ressam ve bilin\u00e7siz deli ressam yoktur. Sanat tarihi zamanla kendini d\u00fczeltir. Bundan \u00f6t\u00fcr\u00fc sanat tarihinde \u00abakademizmi benimsemi\u015f\u00bb bir ressam da yoktur. \u00c7ocuk ya da deli resmi nas\u0131l pedagoji ya da maraz\u0131 ruhbilim konusuysa, akademik resim de \u00e2detler, e\u015fyalar, kost\u00fcmler, kullan\u0131lan ve tekrarlanan bi\u00e7imler tarihinin konusudur. San\u0131r\u0131m \u00f6teki sanatlar i\u00e7in de ge\u00e7erlidir bu. G\u00fcn\u00fcm\u00fczde anlaml\u0131 g\u00f6z\u00fcken ve sonra yava\u015f yava\u015f ya da h\u0131zla anlams\u0131zla\u015fan \u015fiirler, \u00f6yk\u00fcler, romanlar, filimler, toplumlar\u0131n ge\u00e7irdikleri d\u00f6nemler i\u00e7in yaln\u0131zca belge niteli\u011findedirler.<\/p>\n
Yarat\u0131c\u0131 sanat, bilinmeye y\u00f6nelen, bulu\u015fu i\u00e7inde ta\u015f\u0131yan sanatt\u0131r. T\u0131pk\u0131 ger\u00e7ek felsefenin, en genel ve sonda yer alan sorunlar\u0131n\u0131n i\u00e7erdi\u011fi bilinmeyeni irdeleyip durmas\u0131; s\u00fcrekli olarak inceltip derinle\u015ftirdi\u011fi kavramlar\u0131nda \u00abbulu\u015f\u00bb lar ortaya koymas\u0131; g\u00f6z kama\u015ft\u0131r\u0131c\u0131 ayd\u0131nl\u0131klar getirmesi gibi.<\/p>\n
M\u0131s\u0131r, Yunan, R\u00f6nesans, Uzak Do\u011fu, Afrika, Orta Do\u011fu, Osmanl\u0131 sanatlar\u0131, bilinmeyenin, \u00f6zel ara\u00e7larla yakaland\u0131\u011f\u0131, avland\u0131\u011f\u0131 alanlard\u0131r.-Bilinenlerin toplam\u0131 ile bilinmeyenlerin toplam\u0131 aras\u0131ndaki bu alanda d\u00f6nenir sanat\u00e7\u0131 ve bulu\u015funu g\u00f6z \u00f6n\u00fcne serer; bilinmeyenin bir yerini ayd\u0131nlat\u0131r, bilineni \u00e7o\u011falt\u0131r. D\u00fcnyada olu\u015funu, olu\u015f nedenini bulmu\u015ftur sanki.<\/p>\n
Yarat\u0131c\u0131 sanat\u00e7\u0131y\u0131, hep bu tutum i\u00e7inde g\u00f6r\u00fcyoruz. Ama ger\u00e7ek sanat\u0131n ortaya \u00e7\u0131k\u0131\u015f s\u00fcreci, tarihsel – toplumsal ko\u015fullara ba\u011fl\u0131 olarak de\u011fi\u015fiyor ku\u015fkusuz. Afrika sanat\u0131n\u0131n b\u00fcy\u00fck \u00f6rneklerinde bile sanat\u00e7\u0131n\u0131n bir birey olarak ortaya \u00e7\u0131kmamas\u0131; y\u00f6relerin, d\u00f6nemlerin daha a\u011f\u0131r basmas\u0131 ile Bat\u0131’daki birey, sanat\u00e7\u0131 birey olgusu aras\u0131nda, sanat\u0131n ortaya konu\u015f s\u00fcreci bak\u0131m\u0131ndan farklar vard\u0131r ve g\u00fcn\u00fcm\u00fczde bu, belki de \u00e7ok daha karma\u015f\u0131kla\u015fm\u0131\u015ft\u0131r.<\/p>\n
Son y\u00fczy\u0131l, Bat\u0131 i\u00e7in de, Bat\u0131 d\u0131\u015f\u0131ndaki \u00fclkeler i\u00e7in de, bizim i\u00e7in de b\u00fcy\u00fck de\u011fi\u015fmeler \u00e7a\u011f\u0131 oldu. Bu de\u011fi\u015fmelerin insan i\u00e7in ta\u015f\u0131d\u0131\u011f\u0131 anlam\u0131n ne oldu\u011fu sorusuna cevap vermek de, bunun haberini iletmek de sanat\u0131n bir ba\u015fka g\u00f6revi. Picasso, yarat\u0131c\u0131 ressam\u0131n her al\u0131\u015f\u0131lmad\u0131k ve yeni alana, her t\u00fcr resme girebilece\u011fini; ama her zaman bir haber vermek, bir \u00f6ng\u00f6r\u00fc getirmek zorunda oldu\u011funu g\u00f6sterdi. Ger\u00e7ek sanat didinmesinin tehlikesi, heyecan\u0131 buradan geliyor; ger\u00e7ek estetik te bu y\u00f6neli\u015ften kaynaklan\u0131yor. Ve ger\u00e7ek estetik, kurumsalla\u015fmaktan, akademizmden, y\u00fczeysel ve s\u0131radan be\u011feniden uzak durmay\u0131 gerektiriyor; sanat\u00e7\u0131ya, d\u00fcnya ile tehlikesiz bir ili\u015fki kurmamak bir s\u00f6zde denge i\u00e7inde bulunmamak g\u00f6revini y\u00fckl\u00fcyor; onu, olan\u0131 irdeleyip a\u015farakolacak olana, en genel anlam\u0131yla ele\u015ftiriye (sanat alan\u0131ndaki k\u00f6kl\u00fc ele\u015ftiriye) y\u00f6neltiyor. Felsefenin, \u00e7a\u011fda\u015f ve canl\u0131 felsefenin de b\u00f6yle bir y\u00f6neli\u015fi oldu\u011funu san\u0131yorum.<\/p>\n
Bulu\u015fun, yarat\u0131\u015f\u0131n, ortaya \u00e7\u0131kt\u0131\u011f\u0131 zaman, onu ger\u00e7ekle\u015ftiren ki\u015fiye ilintisi sorunu var bir de. S\u00f6ylenen s\u00f6z, ileri s\u00fcr\u00fclen d\u00fc\u015f\u00fcnce, yap\u0131lan resim (\u00f6zg\u00fcn olduklar\u0131 varsay\u0131l\u0131nca), ka\u00e7\u0131n\u0131lmaz m\u0131yd\u0131? diye sorabiliriz. Belli bir sanat\u00e7\u0131 bir resmi yapmasayd\u0131, bir ba\u015fka sanat\u00e7\u0131 o resmi yapacak m\u0131yd\u0131? Bilimde, elman\u0131n yere d\u00fc\u015f\u00fc\u015f\u00fcn\u00fcn a\u00e7\u0131klanmas\u0131 ka\u00e7\u0131n\u0131lmazd\u0131. Newton olmasa, bir ba\u015fkas\u0131 ortaya koyacakt\u0131 bu bulu\u015fu. Resimde, C\u00e9zanne’m do\u011fay\u0131 yap\u0131sal y\u00f6nde soyutlamas\u0131; \u00abk\u00fcpleri, k\u00fcreleri, konileri\u00bb de ka\u00e7\u0131n\u0131lmazd\u0131 san\u0131r\u0131m. Ku\u015fkusuz, Cezanne’\u0131n resmi, t\u00fcm olarak ve bildi\u011fimiz somut varl\u0131\u011f\u0131 i\u00e7inde ba\u015fka birisi taraf\u0131ndan ger\u00e7ekle\u015ftirilemezdi. Bilimle sanat aras\u0131ndaki farklardan biri de bu olmal\u0131.<\/p>\n
C\u00e9zanne’in kendi resminde genelle\u015ftirdi\u011fi tikelin izleri, yaln\u0131zca Cezanne’\u0131n ki\u015fili\u011fine ait olan, benzersiz ve tekrarlanmaz olan bir yan. Resim adeta, C\u00e9zanne’\u0131n tikel duyarl\u0131\u011f\u0131nda dayana\u011f\u0131n\u0131 bularak ger\u00e7ekle\u015fip genelle\u015fiyor ve daha \u00f6nce bi\u00e7imlenmemi\u015f, \u00e7izgileri belirsiz, gizli haldeyken, yani \u00e7a\u011fm duyarl\u0131\u011f\u0131nda \u00abas\u0131lt\u0131\u00bb halindeyken, genelken, Cezanne’\u0131n ki\u015fili\u011finde, bak\u0131\u015f ve yarat\u0131\u015f\u0131nda tekillik kazan\u0131yor diyebiliriz. Bilinmeyenle-bilinenin, anlat\u0131lamayanla-anlat\u0131lan\u0131n, hen\u00fcz insansalla\u015fmam\u0131\u015fla-insansalla\u015fan\u0131n, gizille-edimselin, \u00f6zg\u00fcrl\u00fck olmayanla-\u00f6zg\u00fcrl\u00fc\u011f\u00fcn diyalekti\u011fi bu. Bireysel ve tekil-olan i\u00e7re i\u015fleyen bir diyalektik; t\u0131pk\u0131 felsefede (ki filozof ya da d\u00fc\u015f\u00fcn\u00fcr\u00fcn tekilli\u011finde ger\u00e7ekle\u015fmesi bak\u0131m\u0131ndan bilimden ayr\u0131l\u0131r) oldu\u011fu gibi. Yani burda da bir bak\u0131\u015f\u0131m s\u00f6z konusu…<\/p>\n
Bilimin b\u00fcy\u00fck at\u0131l\u0131m \u00e7a\u011flar\u0131nda tikel g\u00f6r\u00fc\u015f ve yarat\u0131\u015fta, tekillikte bir azalma oldu\u011fu; genelin ve kapsay\u0131c\u0131n\u0131n a\u011f\u0131r bast\u0131\u011f\u0131 s\u00f6ylenebilir. \u0130zlenimciler, do\u011fadaki renkler ve \u0131\u015f\u0131k konusunda bilimsel olmaya varacak kadar genelle\u015ftiklerinde, aralar\u0131ndaki ki\u015fisel \u00fcslup farklar\u0131n\u0131n azalmas\u0131ndan, adeta silinmesinden ka\u00e7\u0131namad\u0131lar. Bir anlamda ka\u00e7\u0131n\u0131lmazd\u0131 da bu. Picasso ve Braque da, bir d\u00f6nemde, bulu\u015f ad\u0131na, yak\u0131nla\u015fmaktan, benze\u015fmekten, genelle\u015fmekten ka\u00e7mamam\u0131\u015flard\u0131.<\/p>\n
Sanatlarla bilimler aras\u0131ndaki ili\u015fki; temeldeki ekonomik ve toplumsal de\u011fi\u015fmelerle bunlar\u0131n ili\u015fkisi, uzmanlar\u0131n irdelemesine kalm\u0131\u015f bir i\u015f. Ben, bilimsel bulu\u015flar, tarih boyunca birbirlerini d\u00fczelttikleri halde, b\u00fcy\u00fck sanat\u0131n, d\u00fczeltilmez, a\u015f\u0131lmaz ve indirgenmez oldu\u011funu s\u00f6ylemekle yetinece\u011fim. Eski M\u0131s\u0131r bilimleri ve teknolojisi \u00e7oktan a\u015f\u0131ld\u0131\u011f\u0131 halde, M\u0131s\u0131r sanat\u0131n\u0131n b\u00fcy\u00fck \u00f6rnekleri a\u015f\u0131lmam\u0131\u015ft\u0131r; b\u00fct\u00fcn \u00f6teki b\u00fcy\u00fck \u00f6rnekler gibi. M\u0131s\u0131r kedi heykeli, bir gece sanat\u0131 \u00fcr\u00fcn\u00fc; \u00f6l\u00fcm ve esirlikle sonuna kadar \u00f6zde\u015fle\u015fen bir k\u00fclt\u00fcr\u00fcn \u00fcr\u00fcn\u00fc olarak \u00f6zg\u00fcnd\u00fcr, indirgenemez; kendi yaln\u0131zl\u0131\u011f\u0131, a\u00e7\u0131lmazl\u0131\u011f\u0131, korkutuculu\u011fu ve gecesi i\u00e7inde kendi \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fcn\u00fc ta\u015f\u0131r.<\/p>\n
B\u00fcy\u00fck sanat\u0131n, toplumlar\u0131n ger\u00e7ek\u00e7ili\u011fini de, imgelemini de, duygusall\u0131\u011f\u0131n\u0131 da ve en \u00f6nemlisi bulu\u015f g\u00fc\u00e7lerini ve \u00f6zg\u00fcnl\u00fcklerini de g\u00f6sterdi\u011fi besbelli. Son y\u00fczy\u0131lda Bat\u0131 sanat\u0131, arka arkaya bulu\u015flar yaparak tarihte g\u00f6r\u00fclmedik bir canl\u0131l\u0131k, yay\u0131lmac\u0131l\u0131k ve sald\u0131rganl\u0131k g\u00f6sterdi. Resmin b\u00fcy\u00fck \u00abmisyonerleri\u00bb, her yere, her y\u00f6ne da\u011f\u0131ld\u0131. Gauguin’in resimlerine d\u00fc\u015fen g\u00f6lge, uzak denizlerin g\u00f6lgesidir; d\u00fcnyan\u0131n geni\u015flemesi, co\u011frafyan\u0131n resme giri\u015fi, yeni insan bi\u00e7imlerinin \u00e7izili\u015fidir. Van Gogh’un Japon sanat\u0131na, Matisse ve Klee’nin \u0130slam sanat\u0131na, Picasso’nun Afrika sanat\u0131na sevgileri, ilgileri, bak\u0131\u015flar\u0131, bilinen \u015feyler. S\u0131n\u0131rs\u0131z bir zenginlik ve canl\u0131l\u0131kla, fig\u00fcr\u00fcn giderek soyutlanmas\u0131, ortadan kalkmas\u0131, fig\u00fcrs\u00fcz\u00fcn ve soyutun ortaya \u00e7\u0131kmas\u0131; ama fig\u00fcr\u00fcn yine de s\u00fcrmesi, soyutun yeni y\u00f6nleri, kavramlar\u0131n, \u00abmizansen\u00bblerin ortaya \u00e7\u0131kmas\u0131 ger\u00e7e\u011fiyle kar\u015f\u0131 kar\u015f\u0131yay\u0131z burada. Bat\u0131 sanat\u0131n\u0131n, ba\u015flarda bir t\u00fcr resmin ba\u015fka bir t\u00fcr resmi izlemesi, bir \u00e7izgisellik olarak g\u00f6r\u00fcnen geli\u015fmesi, her t\u00fcr sanat\u0131n yap\u0131ld\u0131\u011f\u0131, yanyana ya\u015fad\u0131\u011f\u0131 \u00e7ok canl\u0131 bir d\u00fcnyaya ula\u015fm\u0131\u015ft\u0131r sonunda.<\/p>\n
B\u00fct\u00fcn bunlar hayran b\u0131rak\u0131yor bizi, ama bir k\u00f6\u015feye de s\u0131k\u0131\u015ft\u0131r\u0131yor. Her konuda oldu\u011fu gibi, bunlar\u0131n aras\u0131na girmek, kalabal\u0131\u011fa kar\u0131\u015fmak istiyoruz. Akademizm, yeni akademizm, \u00e7al\u0131\u015f\u0131p duruyor; Bat\u0131da her yap\u0131lan\u0131 belli zaman farklar\u0131yla (bu farklar da giderek azalmakta) bizde tekrarl\u0131yor. \u00d6teki sanat dallar\u0131nda da b\u00f6yle. Hangi k\u0131l\u0131\u011fa b\u00fcr\u00fcn\u00fcrse burunsun, bu \u00ab\u00e7ok geli\u015fmi\u015f\u00bb tekrarc\u0131l\u0131\u011f\u0131n ger\u00e7ek yerellikle bir ilgisi yok; ger\u00e7ek evrensellikle de yok bundan \u00f6t\u00fcr\u00fc. Bir \u015feye benziyor, ama asl\u0131 de\u011fil; o san\u0131yorsunuz, o de\u011fil. S\u0131radan ve kalp bir \u015fey var kar\u015f\u0131n\u0131zda o kadar; bir sorun-yoklu\u011fu var yaln\u0131zca. Yani \u00e7a\u011fda\u015f felsefenin etkileyici bir bi\u00e7imde \u00fczerinde durdu\u011fu \u00abhasl\u0131k\u00bb ve \u00absorun\u00bb yok ama taklidi var. Oysa \u00f6nemli olan her \u015feyden \u00f6nce hasl\u0131\u011fa y\u00f6nelen bir sorun olmak.<\/p>\n","protected":false},"excerpt":{"rendered":"
Sanatlar, d\u00fc\u015f\u00fcnce ve felsefe bak\u0131\u015f\u0131rlar; \u00abne oluyoruz?\u00bb \u00fczerinde temellenen ele\u015ftirel bir bak\u0131\u015f\u0131md\u0131r bu. \u00dclkemizde, \u00abbiz iyiyiz?\u00bb, \u00absiz nas\u0131ls\u0131n\u0131z?\u00bba dayanan bir durum s\u00fcr\u00fcp gidiyor. Geni\u015f anla\u015fmalar\u0131n ve s\u0131radan i\u015flerin at ko\u015fturdu\u011fu bir yerde de sanatlar, d\u00fc\u015f\u00fcnce ve felsefe aras\u0131nda bir konu\u015fma ba\u015flamal\u0131; ola\u011fan\u00fcst\u00fc ko\u015fullardan, nas\u0131l oluyor da bu kadar s\u0131radan i\u015fler \u00e7\u0131k\u0131yor? diye sorulmal\u0131d\u0131r herhalde. \u00d6nemli […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[103],"tags":[],"class_list":{"0":"post-4198","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-felsefe-genel"},"yoast_head":"\n
Resim Sanat\u0131yla Felsefenin \u0130li\u015fkisi | \u00d6mer Ulu\u00e7 - 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\/2010\/02\/11\/resim-sanatiyla-felsefenin-iliskisi-omer-uluc\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resim Sanat\u0131yla Felsefenin \u0130li\u015fkisi | \u00d6mer Ulu\u00e7\" \/>\n<meta property=\"og:description\" content=\"Sanatlar, d\u00fc\u015f\u00fcnce ve felsefe bak\u0131\u015f\u0131rlar; \u00abne oluyoruz?\u00bb \u00fczerinde temellenen ele\u015ftirel bir bak\u0131\u015f\u0131md\u0131r bu. \u00dclkemizde, \u00abbiz iyiyiz?\u00bb, \u00absiz nas\u0131ls\u0131n\u0131z?\u00bba dayanan bir durum s\u00fcr\u00fcp gidiyor. Geni\u015f anla\u015fmalar\u0131n ve s\u0131radan i\u015flerin at ko\u015fturdu\u011fu bir yerde de sanatlar, d\u00fc\u015f\u00fcnce ve felsefe aras\u0131nda bir konu\u015fma ba\u015flamal\u0131; ola\u011fan\u00fcst\u00fc ko\u015fullardan, nas\u0131l oluyor da bu kadar s\u0131radan i\u015fler \u00e7\u0131k\u0131yor? diye sorulmal\u0131d\u0131r herhalde. \u00d6nemli […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/narteks.net\/index.php\/2010\/02\/11\/resim-sanatiyla-felsefenin-iliskisi-omer-uluc\/\" \/>\n<meta property=\"og:site_name\" content=\"narteks.net\" \/>\n<meta property=\"article:published_time\" content=\"2010-02-11T10:37:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png\" \/>\n\t<meta property=\"og:image:width\" content=\"300\" \/>\n\t<meta property=\"og:image:height\" content=\"90\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Tar\u0131k\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@narteks\" \/>\n<meta name=\"twitter:site\" content=\"@narteks\" \/>\n<meta name=\"twitter:label1\" content=\"Yazan:\" \/>\n\t<meta name=\"twitter:data1\" content=\"Tar\u0131k\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tahmini okuma s\u00fcresi\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 dakika\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/02\/11\/resim-sanatiyla-felsefenin-iliskisi-omer-uluc\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/02\/11\/resim-sanatiyla-felsefenin-iliskisi-omer-uluc\/\"},\"author\":{\"name\":\"Tar\u0131k\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca\"},\"headline\":\"Resim Sanat\u0131yla Felsefenin \u0130li\u015fkisi | \u00d6mer Ulu\u00e7\",\"datePublished\":\"2010-02-11T10:37:48+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/02\/11\/resim-sanatiyla-felsefenin-iliskisi-omer-uluc\/\"},\"wordCount\":2331,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/narteks.net\/#organization\"},\"articleSection\":[\"Felsefe (Genel)\"],\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/narteks.net\/index.php\/2010\/02\/11\/resim-sanatiyla-felsefenin-iliskisi-omer-uluc\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/02\/11\/resim-sanatiyla-felsefenin-iliskisi-omer-uluc\/\",\"url\":\"https:\/\/narteks.net\/index.php\/2010\/02\/11\/resim-sanatiyla-felsefenin-iliskisi-omer-uluc\/\",\"name\":\"Resim Sanat\u0131yla Felsefenin \u0130li\u015fkisi | \u00d6mer Ulu\u00e7 - 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