The Arts and Crafts in the Triangle of Individualism, Collectivism and Industrialism: The Rise and Fall of the “Traditional Arts” Ideal in Europe

Yıl 2017, , 61 - 80, 29.12.2017

Yusuf Civelek

https://doi.org/10.16947/fsmia.372589

Cited By: 1

Öz

Nowadays, revitalization of the so-called “traditional arts” is in vogue in Turkey.

The penchant for the artistic crafts of the past aims to generate a counter-aesthetics as

part of the ideal of creating national identity, depending on the shapes of the past. This

paper suggests that from the beginning of the revitalization of artistic crafts in Britain

to the birth of modern industrial design in Germany, the short history of the “traditional

arts” must be taken into account in considerations of reviving the aesthetics of the past.

In the mid-Nineteenth Century, in Britain, the Arts and Crafts movement tried to revive

the collective hand production of the Medieval guilds. Despite the political-ideological

orientation of the Arts and Crafts movement, the continental Art Nouveau that emerged

as pure aesthetics around the turn of the century was usually devoid of such content. As a

consequence of the reconciliation of art as design aesthetics with the capitalist industrial

production, the history of handicrafts came to a halt in Europe.

Anahtar Kelimeler

John Ruskin, Arts and Crafts, Deutsche Werkbund, Bauhaus, traditional arts

Ferdiyetçilik, Kolektivizm ve Sanayi Üçgeninde Sanat ve Zanaat: “Geleneksel Sanatlar” Meselesinin Avrupa’da Yükselişi ve Düşüşü

Öz

Son zamanlarda “geleneksel sanatlar”ın canlandırılması Türkiye’de önem kazanmış

olan bir konudur. Kadim zanaatların üretim yöntemlerine yönelik bu ilgi, genellikle millî

kimlik yaratma idealinin bir parçası olan ve geçmişin şekillerine dayanan bir karşı-estetik

meydana getirmek amacını taşır. Bu makalenin amacı, Britanya’da artizanal sanatların

canlandırılmaya başlamasından, Almanya’da modern endüstriyel tasarımın doğuşuna

kadar geçen sürede, “geleneksel sanatlar” meselesinin kısa tarihinin geçmişin estetiğini

canlandırma arayışlarında dikkate alınmasını önermektir. 19. Yüzyılın ortasında Britanya’da

ortaya çıkan Arts and Crafts hareketi, sanatçı ve zanaatçıların endüstriyelleşmiş

kapitalizm karşısında güçlerinin eriyip gitmesine duyulan tepkinin sonucunda, Ortaçağ

loncalarının kolektif el üretimini canlandırmayı denemişti. Arts and Crafts’ın siyasî-ideolojik

eğilimine karşılık, yüzyıl dönümünde kıta Avrupa’sında saf estetik bir hareket olarak

ortaya çıkan Art Nouveau, bu tür bir içerikten büyük ölçüde yoksundu. Sonuçta, sanatın

tasarım estetiği olarak kapitalist sanayi üretimiyle uzlaşmasıyla Avrupa’da el sanatları

hareketi sona ermiş oldu.

Anahtar Kelimeler

John Ruskin, Arts and Crafts, Deutsche Werkbund, Bauhaus, geleneksel sanatlar

Kaynakça

• Bektaş, Dilek, “Sovyet Devrimi’nin Ardından Sanat, Tasarım ve Mimarlık 1917-2017”, Arredamento Mimarlık, (10), 2017. Civelek, Yusuf, “Manifestoların Perspektifinden: Antonio Sant’Elia Fütürist mi?”, Megaron, 10 (4), 2015. Dellaloğlu, Besim F., Romantik Muamma, İstanbul, Bağlam Yayıncılık, 2002. Droste, Magdelena, Bauhaus (1919-1933), Berlin, Benedikt Taschen Verlag, 1998. Frampton, Kenneth, Modern Architecture: A Critical History, New York, Thames and Hudson, 1996. Haddad, Elie G., “On Henry van de Velde’s Manuscript on Ornament” Journal of Design History, 16 (2), 2003. Jarzombek, Mark, “The “Kunstgewerbe”, the “Werkbund”, and the Aesthetics of Culture in the Wilhelmine Period”, Journal of the Society of Architectural Historians, 53 (1), 1994. _______, “Joseph August Lux: Werkbund Promoter, Historian of a Lost Modernity”, The Journal of the Society of Architectural Historians, 63 (2), 2004. Jefferies, Matthew, “Industrial Architecture and Politics In Wilhelmine Germany”, (Yayımlanmamış Doktora Tezi), Oxford University, Londra, 1990. Kentgens-Craig, Margarate, Bauhaus and America. First Contacts 1919- 1936, Cambridge (Mass.), The MIT Press, 1999. Lekan, Thomas, “Regionalism and the Politics of Landscape Preservation in the Third Reich”, Environmental History, 4 (3), 1999. Löwy, Michel, Sayre, Robert, İsyan ve Melankoli: Moderniye Karşı Romantizm, çev. Işık Ergüden, İstanbul, Alfa Yayınları, 2015. Lethaby, William R., Form in Civilization: Collected Papers on Arts & Labour, Londra, Oxford University Press, 1922. Loos, Adolf, “Süsleme ve Suç”, 20. Yüzyıl Mimarisinde Program ve Manifestolar, haz. U. Conrads, Ankara, Şevki Vanlı Vakfı, 1991. Mackmurdo, Arthur Heygate, “The Guild’s Flag Unfurling”, The Century Guild Hobby Horse, 1, 1884. Mallgrave, Harry Francis, Ikonomu, Eleftherios (haz.), Empathy, Form, and Space: Problems in German Aesthetics, 1873 – 1893, Santa Monica, The Getty Center for the History of Art and the Humanities, 1994. Morris, May (haz.), Collected Works of William Morris, c. XV, Londra, Longmans Green and Company, 1912. Pugin, A. Welby, Contrasts: Or Parallel Between the Noble Edifices of the Fourteenth and Fifteenth Centuries, and Similar Buildings of the Present Day; Shewing the Present Decay of Taste, Londra, 1836. _______, The True Principles of Pointed or Christian Architecture, Londra, W. Hughes, 1841. _______, Glossary of Ecclesiastical Ornament and Costume, Londra, Bernard Quaritch,1863. Ruskin, John, The Seven Lamps of Architecture, New York, John Wiley, 1849. _______, The Nature of Gothic – A Chapter of The Stones of Venice, Hammersmith, Kelmscott House, 1892. _______, Fors Clavigera: Letters to the Workmen and Labourers of Great Britain, Londra, George Allen, 1907. Tavernor, Robert, “Introduction”, Andrea Palladio – The Four Books on Architecture, çev. Robert Tavernor & R. Schofield, Cambridge (Mass.), The MIT Press, 1997. Troy, Nancy, Modernism and the Decorative Arts in France: Art Nouveau to Le Corbusier, New Haven & Londra, Yale University Press, 1991. Umbach, Maiken, “The Vernacular International: Heimat, Modernism and the Global Market in Early Twentieth-Century Germany”, National Identities, 4 (1), 2002. Wright, Frank Lloyd, “The Art and Craft of the Machine”, The New Industrialism - Volume I: National League of Industrial Art, 1902.