GÖRSEL SANATLARDA SANAT ESERLERİNİ İSİMLENDİRME PRATİĞİNİN TARİHİ, ANLAMI VE SÖYLEMİ

Year 2026, Issue: 72, 209 - 230, 19.01.2026

Nimet Keser

https://doi.org/10.30794/pausbed.1776005

Abstract

Bu çalışma, sanat eserlerine verilen isimlerin tarihsel, kuramsal ve estetik bağlamlarda geçirdiği dönüşümü incelemekte ve isimlendirme pratiğinin yalnızca tanımlayıcı bir etiketleme değil, çok boyutlu bir anlam üretim stratejisi olduğunu savunmaktadır. Antik ve Orta Çağ dönemlerinde isimler çoğu zaman gereksiz görülmüş, eserlerin bağlamsal okunabilirliği yeterli kabul edilmiştir. Ancak Rönesans’la birlikte sanatçının bireysel kimliği öne çıkmış; eser isimleri de eserin estetik bütünlüğünü kuran metinsel bileşenlere dönüşmüştür. 18. ve 19. yüzyıllarda sanat eğitiminin kurumsallaşmasıyla birlikte isimler içeriksel sınıflandırma aracı olmuş; modernizmde ise ismin yorumu sabitleyen doğasına karşı tepkiler gelişmiştir. Çağdaş sanatta ise yalnızca görseli tamamlayan değil; kimi zaman görselin yerini alan, kimi zaman da anlamı parçalayarak yeniden kuran politik ve poetik bir araç hâline gelmiştir. Bu makale eser isimlerinin ikonografik, semantik, poetik ve politik işlevlerini tarihsel süreklilik ve kuramsal çerçeve içinde ele almaktadır. İsim, artık yalnızca ‘ne görüyoruz?’ sorusuna değil, ‘neye inanıyoruz?’ ve ‘nasıl yorumluyoruz?’ sorularına da yanıt arayan söylemsel bir alan olarak işlev görmektedir.

Keywords

Sanat Eseri , Eser İsmi , Görsel Sanatlar , Yorum , Modernizm , Çağdaş Sanat , Anlam Üretimi

Ethical Statement

Bu makale, insan katılımcılar veya hayvanlar ile yapılan herhangi bir çalışmayı içermemektedir. Bu nedenle etik kurul onayı gerekmemiştir. Yazar, etik yayın standartlarına uyduğunu beyan eder.

Supporting Institution

Herhangi bir kurum tarafından desteklenmemiştir.

Project Number

Herhangi bir proje kapsamında üretilmemiştir.

Thanks

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TITLING ARTWORKS IN THE VISUAL ARTS: HISTORY, MEANING, AND DISCOURSE

Abstract

This study examines the transformation of titles assigned to works of art across historical, theoretical, and aesthetic contexts, arguing that titling is not merely a descriptive label but a multidimensional strategy of meaning-production. In Antiquity and the Middle Ages, titles were often deemed unnecessary, as the contextual legibility of artworks was considered sufficient. With the Renaissance, however, the artist’s individual identity came to the fore, and titles themselves became textual components that helped constitute the aesthetic integrity of the work. In the eighteenth and nineteenth centuries, as art education became institutionalized, titles evolved into instruments of content classification; under modernism, by contrast, reactions emerged against the title’s propensity to stabilize interpretation. In contemporary art, titles are not simply adjuncts to the visual; at times they supplant the image, and at others they fracture and reconfigure meaning as political and poetic devices. The article addresses the iconographic, semantic, poetic, and political functions of titles within a framework that combines historical continuity with theoretical analysis. The title now operates as a discursive field that seeks answers not only to the question ‘what do we see?’ but also to ‘what do we believe?’ and ‘how do we interpret?’.

Keywords

Artwork , Title , Visual Arts , Interpretation , Modernism , Contemporary Art , Meaning-Making

Ethical Statement

This article does not involve studies with human participants or animals. Therefore, ethical approval was not required. The author declares compliance with ethical publishing standards.

Supporting Institution

It was not supported by any institution.

Project Number

Herhangi bir proje kapsamında üretilmemiştir.

Thanks

-

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