KLASİK TAPINAK ALANLARINDA DOĞAL PEYZAJIN YAPILI ÇEVREYLE İLİŞKİSİ: BİR UZANTI VEYA BAĞLAM OLARAK DOĞA

Yıl 2022, , 103 - 127, 22.12.2022

İdil Karababa

https://doi.org/10.36891/anatolia.1076080

Öz

Doğal peyzajın klasik mimarlıkla yakın ilişkisi yaygın kabul gören bir anlayış olmasına rağmen, bu konu üzerine yazılmış kaynaklar kısıtlıdır. Bu makale, argümanının odağına antik dünyada insan-doğa ilişkisinin dönüşümünü ve bu dönüşümün kutsal alan planlamasına yansımalarını alarak, geçmiş tartışmalara katkıda bulunmayı amaçlar. Sadece mimarlıkta değil, edebiyat ve sanat alanlarında da bu dönüşümün izlerini sürerek, antik dünyada insan-doğa ilişkisini bütüncül bir yaklaşımla açıklamayı dert edinir.

Tanrı-insan ilişkisinin entegre tanımlandığı mitolojik gelenekte, doğayı mekan edinen antropomorfik tanrılar insanoğlunun kaderini ellerinde tutarlar. Dolayısıyla bu dönemde doğaya insan eliyle yapılacak bir müdahale tanrısal olanla anlaşmayı/bütünleşmeyi gerektirir. Arkaik dönem edebiyat ve sanatında doğa bir bağlam veya arka plan olarak değil, kahramanların bir uzantısı olarak betimlenir veya resmedilir. Delfi’deki Apollon kutsal alanında da benzer şekilde, doğal olan insan yapımı olanın bağlamını oluşturmaz. İnsan yapımı olan doğal olanın bir uzantısıdır, ondan ayrılmaz. Bu kutsal alanda tanrılar ve insanoğlu, insan yapımı ve peyzaj, deneyime dayalı bir mekansal organizasyon mantığı çerçevesinde entegre edilir. Makalede, bu deneyime dayalı mekansal organizasyon mantığı sinematik kavramlar çerçevesinde tartışılır. Kutsal alanın görünürde rastgele planı ziyaretçilerin her birinin deneyimleri ile ilişkilenen çoklu hareket/gözlem sekansları kurmalarına imkan verir. Farklı montaj sekansları gibi tanımlayabileceğimiz bu çoklu deneyimler sinema terminolojisinde genel plan diyebileceğimiz tasarlanmış kareler sayesinde, ortak bir zaman ve mekan bağlamına oturtulur. Bu kareler, insan yapımı olanı doğal olanın bir uzantısı olarak ona entegre tanımlar.

İnsanoğlunun kendini tanrılardan ayırdığı Yunan kentinin demokratikleşme süreci sonucunda insanın doğa ile entegre ilişkisi kırılır. Bu kırılma sonucu insan, kendi kaderinin belirleyicisi olarak düzen kurmaya kendini muktedir saymaya başlar. Doğa tanrıların mekan tuttuğu kaotik bir yer olarak kentten soyutlanır. Kökü Helenistik sahne resimlerine dayanan Roma duvar resimlerinde, mitolojik peyzajlara, mimari bir çerçevenin arkasından bakılır. Bu mimari çerçeve, Lindos’taki Athena kutsal alanı veya Praeneste’deki Fortuna kutsal alanındaki kolonadlar gibi, insan yapımı olanı doğal olandan ayırır. Bu kutsal alanlarda, Helenistik dönemde perspektif konusundaki ilerlemeler sonucu gündeme gelmiş olabilecek bazı kavramlar, doğal peyzajdan kopuk kontrollü bir iç mekan yaratılmasında etkili olurlar. Ziyaretçinin hareketinin ve bakış açısının obsesif bir şekilde kontrol edildiği bu matematiksel soyut mekan anlayışı, çoklu hareket/gözlem sekanslarına izin veren Delfi’deki Apollon kutsal alanının mekansal organizasyon mantığından çok farklıdır. Mekansal kurgu kendi anıtsallığına odaklanır ve doğal bağlamdan kopar.

Anahtar Kelimeler

Antik Yunan ve Roma resim sanatı, peyzaj-mimarlık ilişkisi, klasik dönem tapınak alanları, fenomenoloji, perspektif

ON THE CLASSICAL SANCTUARY SPACE AND ITS NATURAL CONTEXT: NATURE AS EXTENSION OR CONTAINER?

Öz

Even though nature is accepted to be an integral part of classical architecture, there is limited scholarship on this aspect. This paper aims to contribute to this literature with a focus specifically on the transformation of attitudes towards nature in the classical culture and on the influence of this transformation to sanctuary planning. Through an argument focusing not only on architecture, but also on art and literature, it tries to establish an overall understanding of the natural in the classical culture.

An earlier attitude towards nature was a result of the mythological tradition, in which the boundary between gods and humans was blurred. Anthropomorphic gods and goddesses, who controlled the human destiny, resided in the nature. So as the boundary between gods and humans were blurred, the boundary between the man-made and the natural was also blurred. In the Archaic Greek literature and art, nature was not depicted as a space or a background, in which the events took place, but it was integrated into the narrative as an extension of the figures integral to them. Similarly, in the Sanctuary of Apollo at Delphi, nature does not constitute a background/container, but it is an extension of the man-made, integral to the god’s abode made by humans. In this sanctuary, located at a magnificent landscape endowed with mythological significance, myth, nature and the man-made merge by way of an organizational logic that integrates gaze and movement as its major constituents. This paper attempts to explain this classical phenomenological logic by cinematic concepts. The seemingly haphazard planning of the sanctuary allows for multiple moving/viewing sequences, which can be thought of as multiple montages extending the space and time of the sanctuary to various geographies and times in history. These multiple montages are brought back to here and now through unifying frames resembling establishing shots in filmmaking. By these shots, the man-made is merged with the landscape in a single unified frame.

A later attitude towards nature was a result of the philosophical tradition, in which man separated himself from the almighty gods and defined himself as the constructor of his own order through democratization of the polis. As a result of this separation, uncontrolled nature became the container of the mythical, separate from the controlled man-made realm. In Roman landscape paintings rooted in the Hellenistic stage paintings, nature as the realm of the mythical is viewed from behind the architectural screens like in the Sanctuary of Athena at Lindos or the Sanctuary of Fortuna at Praeneste. In these Hellenistic sanctuaries, perspectival concepts could be thought as instrumental in creating a controlled man-made interior that is detached from its natural environment. This interior can be defined as a mathematical abstract construct exercising an obsessive control over how the point of view of the observer should be located in space. The calculated axial spatial organization of these sanctuaries, therefore, contrasts starkly to the psychophysiological space of the Sanctuary of Apollo at Delphi, allowing various moving/viewing sequences in full integration with the surrounding nature.

Anahtar Kelimeler

Ancient Greek and Roman painting, Classical sanctuary planning, landscape- architecture relationship, phenomenology, perspective

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