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Terracotta Figurines and Monumental Sculptures: Independent or Followers?

Yıl 2019, Cilt: 7, 299 - 331, 30.06.2019

Elçin Doğan Gürbüzer

https://doi.org/10.13113/CEDRUS.201912

Öz

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 VIIth
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. 

Anahtar Kelimeler

Statue Figurine Plastic Art Coroplastic

Kaynakça

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

Yıl 2019, Cilt: 7, 299 - 331, 30.06.2019

Elçin Doğan Gürbüzer

https://doi.org/10.13113/CEDRUS.201912

Öz

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.

Anahtar Kelimeler

Heykel Figürin Plastik Sanat Koroplastik

Kaynakça

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Toplam 140 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Arkeoloji
Bölüm Araştırma Makaleleri
Yazarlar

Elçin Doğan Gürbüzer Bu kişi benim 0000-0002-9047-8416

Yayımlanma Tarihi 30 Haziran 2019
Gönderilme Tarihi 2 Mart 2019
Yayımlandığı Sayı Yıl 2019 Cilt: 7

Kaynak Göster

APA Doğan Gürbüzer, E. (2019). Pişmiş Toprak Figürinler ve Anıtsal Heykeller: Bağımsız Mı Takipçi Mi?. Cedrus, 7, 299-331. https://doi.org/10.13113/CEDRUS.201912
AMA Doğan Gürbüzer E. Pişmiş Toprak Figürinler ve Anıtsal Heykeller: Bağımsız Mı Takipçi Mi?. Cedrus. Haziran 2019;7:299-331. doi:10.13113/CEDRUS.201912
Chicago Doğan Gürbüzer, Elçin. “Pişmiş Toprak Figürinler Ve Anıtsal Heykeller: Bağımsız Mı Takipçi Mi?”. Cedrus 7, Haziran (Haziran 2019): 299-331. https://doi.org/10.13113/CEDRUS.201912.
EndNote Doğan Gürbüzer E (01 Haziran 2019) Pişmiş Toprak Figürinler ve Anıtsal Heykeller: Bağımsız Mı Takipçi Mi?. Cedrus 7 299–331.
IEEE E. Doğan Gürbüzer, “Pişmiş Toprak Figürinler ve Anıtsal Heykeller: Bağımsız Mı Takipçi Mi?”, Cedrus, c. 7, ss. 299–331, 2019, doi: 10.13113/CEDRUS.201912.
ISNAD Doğan Gürbüzer, Elçin. “Pişmiş Toprak Figürinler Ve Anıtsal Heykeller: Bağımsız Mı Takipçi Mi?”. Cedrus 7 (Haziran 2019), 299-331. https://doi.org/10.13113/CEDRUS.201912.
JAMA Doğan Gürbüzer E. Pişmiş Toprak Figürinler ve Anıtsal Heykeller: Bağımsız Mı Takipçi Mi?. Cedrus. 2019;7:299–331.
MLA Doğan Gürbüzer, Elçin. “Pişmiş Toprak Figürinler Ve Anıtsal Heykeller: Bağımsız Mı Takipçi Mi?”. Cedrus, c. 7, 2019, ss. 299-31, doi:10.13113/CEDRUS.201912.
Vancouver Doğan Gürbüzer E. Pişmiş Toprak Figürinler ve Anıtsal Heykeller: Bağımsız Mı Takipçi Mi?. Cedrus. 2019;7:299-331.
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