Terracotta Figurines and Monumental Sculptures: Independent or Followers?

Abstract

Since the very early period, one of the field of art which human being could be depicted in a real-like manner have been the plastic art. In this field, sto­ne sculptures and terracotta figurines have a special importance. In the region of ancient Aegean, the earli­est human representations among three dimensional ones, had been the figurines made from clay. Within the middle of the VII^th century BC, in parallel with the progress of the knowledge in art and the sense of aes­thetics, sculptors started to use the marble and the limestone in order to create live-size human figures. From then on, till to the end of ancient times, monu­mental sculptures were one of the most strong images in terms of religion and social life. Terracotta figurines share the same chronology with monumental sculp­tures. However, there have been some diffrences be­tween two field of art in terms of their functions and meanings. In spite of the technical and funtional dif­ferences, tipological characteristics reveal the inter­raciton between these two fields. For understanding the characteristics of this interaction clearly, it is esen­tial to examine the periodical progress of the terra­cotta figurines and monumental sculptures. It seems that there used to be a change of role between figu­rines and statues concerning to lead to the style. While terracotta figurines have the effects of specific monu­mental statues in certain periods, they also define the order of the sculpture in some periods. Consequently, as terracottas had their own dynamics in terms of ty­pe, iconography and function, they had a very im­portant role for understanding the ancient people and their lives. 

Keywords

• Statue,Figurine,Plastic Art,Coroplastic

Pişmiş Toprak Figürinler ve Anıtsal Heykeller: Bağımsız Mı Takipçi Mi?

Abstract

Antikçağ insanının kendini gerçeğe en yakın şekil­de ifade edebildiği alan plastik sanattır. Söz konusu alan­da mermer heykeller ve pişmiş toprak figürinler özel bir öneme sahiptir. Kilden üretilmiş olan figürin­ler, Ege coğrafyasında en erken üç boyutlu insan betim­leri olarak karşımıza çıkar. MÖ VII. yüzyılın ortalarıyla birlikte bilim ve sanattaki bilginin ve estetik anlayışın gelişimine paralel olarak, heykeltıraşlar kireçtaşı ve mer­me­ri gerçek boyutlarda insan figürleri oluşturmak için kullanmışlardır. Bu dönemden antikçağın sonuna dek anıtsal heykeltıraşlık eserleri, dinsel ve sosyal açı­dan en güçlü ve zengin betimlemelerden biri olmuştur. Pişmiş toprak figürinler de büyük mermer eserler ile aynı kronolojiyi paylaşır. Buna karşın iki sanat dalı ara­sında işlevsel, anlamsal ve sınıfsal farklar bulunmakta­dır. İşlevsel ve teknik açıdan aradaki büyük farklılıklara rağmen tipolojik ortaklıklar iki alan arasındaki etkile­şimi ortaya koyar. Bu etkileşimin özelliklerini net bir şekilde anlamak için heykel ve pişmiş toprak figürin tip­lerinin gelişimleri dönemsel olarak irdelenmelidir. Tarihsel süreçte, pişmiş toprak figürin ve heykel sanatı arasında stile öncülük etme noktasında bir rol değişimi olduğu görülmektedir. Belli dönemlerde anıtsal heykel­lerin izlerini taşıyan koroplastik eserler kimi zaman hey­kel sanatının gündemini de belirlemiştir. Böylece piş­miş toprak figürinler tip, ikonografi ve işlev açısın­dan kendi dinamiklerine sahip eserler olarak antikçağ insanını ve onun yaşamını anlamada önemli bir role sahip olmuştur.

Keywords

• Heykel,Figürin,Plastik,Sanat,Koroplastik

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