BibTex RIS Kaynak Göster

Flaman Resmi Bağlamında Gerçekliğin Post-İkonografik Resmi Olarak Fotografik Görüntü

Yıl 2013, Sayı: 25, 61 - 74, 01.06.2013

Öz

Nesnel dünyanın mimetik ve fotografik sayılabilecek şekilde görselleştirildiği veya görünen gerçeğin birebir aynısının üretildiği resimlere 16.yy’dan itibaren ve daha ziyade Hollanda geleneğinde rastlanmaktadır. Hollanda’da 16.’yy’dan itibaren görülen ev içi sahneleri, günlük yaşam sahneleri, sıradan günlük kullanım nesnelerinin betimlendiği natürmortlar sanatçıların karşılarındaki modelleri sabırla kopyaladıklarını gösterir. Bu resimler zaman zaman günlük bir olayı belgeler veya memento mori, vanitas gibi konularda izleyiciye aktarıldığı üzere gündelik yaşam görüntüsünün ardında kutsal bir gerçekliği ifade eder. Her iki betimleme türünde de intersubjektif bir konuma sahip olan Hollanda resimleri görüntünün ardında enformasyonla yüklüdür. Enformasyonun gerçekliği dışsal ve uzamsal görüntüyü resimsel biçime kavuştururken izleyicisine dünyevi ve fani yaşamla ilgili estetik olmaklıktan öte etik anlamda mesaj iletir. Hollanda resminde 16.yy’daki Protestan ikonoklazmasından sonra üretilmeye başlanan gündelik temsiller çok anlamlılığıyla Hristiyan ikonografisinden ayrılır. Hollanda resminde anlam, içerik ve bağlam izleyiciye ve yer aldığı mekana bağlıdır. Post-ikonoklast nesne temsili çok anlamlılığıyla laik sanat anlayışına uygun düşmektedir

Kaynakça

  • ARISTOTLE; Metaphysics; Translated by W.D. Ross
  • BAUDRILLARD, Jean; Simulakrlar ve Simülasyon; Çeviri: Oğuz Adanır; Doğu Batı Yayınları; 2003; Ankara; ISBN: 975-8717-01-4
  • BARTHES, Roland; Camera Lucida Fotoğraf Üzerine Düşünceler; Çeviri: Reha Akçakaya; Altıkırkbeş Yayınları; 2008; Eskişehir; ISBN: 975-279-083-6
  • BECKER, Jochen; Beholding The Beholder: Reception of “Dutch” Painting; Argumentation 7" 67-87, 1993. © 1993KluwerAcademic Publishers. Printed in the Netherlands.
  • BOZKURT, Muammer; Video Sanatı; Bileşim Yayınları; 2005; İstanbul; ISBN: 975-271-112-x
  • BROOK, Donald; Painting, Photography and Representation; The Journal of Aesthetics and Art Criticism; Vol. 42, No. 2 (Winter, 1983), pp. 171-180
  • CRIMP, Douglas; Proustian Aesthetics: Photography, Engarving and Histography; CompaThe Photographic Activity of Postmodernism; October, Vol. 15 (Winter, 1980), pp. 91-101
  • BAUDRILLARD, Jean; Simulakrlar ve Simülasyon; Çeviri: Oğuz Adanır; Doğu Batı Yayınları; 2003; syf 15
  • BARTHES, Roland; Camera Lucida Fotoğraf Üzerine Düşünceler; Çeviri: Reha Akçakaya; syf 19
  • COZEA, Angela; Proustian Aesthetics: Photography, Engarving and Histography; Comparative Literature, Vol. 45; No. 3 (Summer, 1993); p. 209-229
  • CURRIE, Gregory; Photography, Painting and Perception; The journal of Aesthetics and Art Criticism, Vol. 49; No. 1 (Winter, 1991); pp. 23-29
  • DERMAN, İhsan; Fotoğraf ve Gerçeklik; Hayalbaz Kitap; 2010; İstanbul; ISBN: 978-605- 60600-1-4
  • FLUSSER; Vilem; Bir Fotoğraf Felsefesine Doğru; Çeviri:İhsan Derman; Hayalbaz Kitap; 2009; İstanbul; ISBN: 978-605-60600-0-7
  • FOUCAULT, Michel; Bu Bir Pipo Değildir; Çeviri: Selahattin Hilav; YKY; 2011; İstanbul; ISBN: 978-975-363-170-7
  • HABERSTICH, David; Photography and the Plastic Arts; Leonardo; Vol. 6; No.2 (Spring, 1073), pp. 113-119
  • HARBISON, Craig; Realism and Symbolism in Early Flemish Paining; The Art Bulletin, Vol. 66, No. 4 (Dec., 1984), pp. 588-602
  • HERMANSON, Sarah; Henri Cartier-Bresson; MOMA, Vol.3; No.6 (Sep., 2000) pp. 31-32
  • McNEECE, Stone Lucy; Bresson”s “Miracle of the Flesh”: Mouchettte; The French Revieve, Vol. 65, No. 2 (Dec., 1991); pp.267-279
  • MOMA; Before Photography: Painting and The Invention of Photography; No.18; (Spring, 1981), p.1
  • NAVAB, Aphrodite Desiree; Re-Picturing Photography: A Language in the Making; Journal of Aesthetic Education; Vol. 35; No.1 (Spring, 2001); pp. 69-84
  • PAIGE, Nicholas; Bardot and Godard in 1963 (Historicizing the Postmodern Image); Representations; Vol. 88; No.1 (Fall 2004); pp. 1-25
  • PLATO; The Republic; Translated by Benjamin Jowett; Provided by The Internet Classic Archives
  • RICHMOND, Stuart; Rememberig Beauty: Reflections on Kant and Cartier-Bresson for Aspiring Photographers; Journal of Aesthetic Education, Vol. 38; No.1 (Spring, 2004); pp. 78-88
  • SAVEDOFF, E. Barbara; Escaping Reality: Digital Imagery and the Resurces of Photography; The Journal of Aesthetics and Art Criticism, Vol. 55, No.2; Perspectives on the Arts and Technology (Spring, 1997), pp. 201-214
  • SCHWENGER, Peter; Corpsing the Image; Critical Inquiry, Vol. 26, No.3 (Spring, 2000), pp. 395-413
  • SHANNON, Sonya; The Chrome Age: Dawn of Virtual Reality; Leonardo; Vol. 28; No.5; Third Annual New York Digital Salon (1995); pp. 369-380
  • ZAKIA, D. Richard; Photography and Visual Perception; Journal of Aesthetic Education, Vol. 27; No.4; Special Issue: Essays in Honor of Rudolf Arnheim (Winter, 1993), pp. 67- 81.
  • Kocaeli University Journal of Social Sciences, 2013, 25 : 61 - 74
  • PHOTOGRAPHIC VIEW AS A POST-ICONOGRAPHIC IMAGE OF REALITY IN THE
  • CONTEXT OF FLAMAN PAINTING
  • Okt. Ayşe ÖNUÇAK BOZDURGUT•

Photographic View As A Post-Iconographic Image of Reality In The Context Of Flaman Painting

Yıl 2013, Sayı: 25, 61 - 74, 01.06.2013

Öz

The paintings of objective world’s, presumed as mimetically and photographically visualized are met
after 16th century and rather in the traditions of Holland. The interior home scenes, daily life scenes,
still life’s of daily use objects show that artists copy the facing models with patience. These paintings
document a daily event sometimes or express a holy truth behind the daily life image of subjects like
memento mori, vanitas which are transferred to the audience. Holland paintings which have and
intersubjective status in both portrayal types, are loaded with information behind the image. The
reality of the information restores the extrinsic and spatial image to a pictorial form while transmitting
a message in ethical manner, far away from the aesthetics of temporal and mortal life. The daily
representations of the Holland paintings created after the 16th century’s Protestant iconoclasm, differ
from the Christian iconography with their amphiboly. The meaning, content and context of the
Holland paintings depend upon the audience and the space that it appeared. Post-iconoclast object
representation suits to the secular art conception with its amphiboly.
Duchamp seems to say the last word regarding to the representation matter which began to be
questioned in the modern art period. With him; retinal reality again give its place to the importance of
the context; while the nature of the apparent (form, origin) began to be designable, manipulable and
changeable.
Photography, maybe the most important mediums of the post-modern status; recreate the ethical
reality of the image, which is needed by the modern stage’s pluralist readings, layered fiction,
determinacy the existing images with new context upon the ethical place where the machine is placed.
Fictional photography has an important place in this context of the current arts reality, where context,
that establish the object is restated and even allow the political discourse in technical view.

Kaynakça

  • ARISTOTLE; Metaphysics; Translated by W.D. Ross
  • BAUDRILLARD, Jean; Simulakrlar ve Simülasyon; Çeviri: Oğuz Adanır; Doğu Batı Yayınları; 2003; Ankara; ISBN: 975-8717-01-4
  • BARTHES, Roland; Camera Lucida Fotoğraf Üzerine Düşünceler; Çeviri: Reha Akçakaya; Altıkırkbeş Yayınları; 2008; Eskişehir; ISBN: 975-279-083-6
  • BECKER, Jochen; Beholding The Beholder: Reception of “Dutch” Painting; Argumentation 7" 67-87, 1993. © 1993KluwerAcademic Publishers. Printed in the Netherlands.
  • BOZKURT, Muammer; Video Sanatı; Bileşim Yayınları; 2005; İstanbul; ISBN: 975-271-112-x
  • BROOK, Donald; Painting, Photography and Representation; The Journal of Aesthetics and Art Criticism; Vol. 42, No. 2 (Winter, 1983), pp. 171-180
  • CRIMP, Douglas; Proustian Aesthetics: Photography, Engarving and Histography; CompaThe Photographic Activity of Postmodernism; October, Vol. 15 (Winter, 1980), pp. 91-101
  • BAUDRILLARD, Jean; Simulakrlar ve Simülasyon; Çeviri: Oğuz Adanır; Doğu Batı Yayınları; 2003; syf 15
  • BARTHES, Roland; Camera Lucida Fotoğraf Üzerine Düşünceler; Çeviri: Reha Akçakaya; syf 19
  • COZEA, Angela; Proustian Aesthetics: Photography, Engarving and Histography; Comparative Literature, Vol. 45; No. 3 (Summer, 1993); p. 209-229
  • CURRIE, Gregory; Photography, Painting and Perception; The journal of Aesthetics and Art Criticism, Vol. 49; No. 1 (Winter, 1991); pp. 23-29
  • DERMAN, İhsan; Fotoğraf ve Gerçeklik; Hayalbaz Kitap; 2010; İstanbul; ISBN: 978-605- 60600-1-4
  • FLUSSER; Vilem; Bir Fotoğraf Felsefesine Doğru; Çeviri:İhsan Derman; Hayalbaz Kitap; 2009; İstanbul; ISBN: 978-605-60600-0-7
  • FOUCAULT, Michel; Bu Bir Pipo Değildir; Çeviri: Selahattin Hilav; YKY; 2011; İstanbul; ISBN: 978-975-363-170-7
  • HABERSTICH, David; Photography and the Plastic Arts; Leonardo; Vol. 6; No.2 (Spring, 1073), pp. 113-119
  • HARBISON, Craig; Realism and Symbolism in Early Flemish Paining; The Art Bulletin, Vol. 66, No. 4 (Dec., 1984), pp. 588-602
  • HERMANSON, Sarah; Henri Cartier-Bresson; MOMA, Vol.3; No.6 (Sep., 2000) pp. 31-32
  • McNEECE, Stone Lucy; Bresson”s “Miracle of the Flesh”: Mouchettte; The French Revieve, Vol. 65, No. 2 (Dec., 1991); pp.267-279
  • MOMA; Before Photography: Painting and The Invention of Photography; No.18; (Spring, 1981), p.1
  • NAVAB, Aphrodite Desiree; Re-Picturing Photography: A Language in the Making; Journal of Aesthetic Education; Vol. 35; No.1 (Spring, 2001); pp. 69-84
  • PAIGE, Nicholas; Bardot and Godard in 1963 (Historicizing the Postmodern Image); Representations; Vol. 88; No.1 (Fall 2004); pp. 1-25
  • PLATO; The Republic; Translated by Benjamin Jowett; Provided by The Internet Classic Archives
  • RICHMOND, Stuart; Rememberig Beauty: Reflections on Kant and Cartier-Bresson for Aspiring Photographers; Journal of Aesthetic Education, Vol. 38; No.1 (Spring, 2004); pp. 78-88
  • SAVEDOFF, E. Barbara; Escaping Reality: Digital Imagery and the Resurces of Photography; The Journal of Aesthetics and Art Criticism, Vol. 55, No.2; Perspectives on the Arts and Technology (Spring, 1997), pp. 201-214
  • SCHWENGER, Peter; Corpsing the Image; Critical Inquiry, Vol. 26, No.3 (Spring, 2000), pp. 395-413
  • SHANNON, Sonya; The Chrome Age: Dawn of Virtual Reality; Leonardo; Vol. 28; No.5; Third Annual New York Digital Salon (1995); pp. 369-380
  • ZAKIA, D. Richard; Photography and Visual Perception; Journal of Aesthetic Education, Vol. 27; No.4; Special Issue: Essays in Honor of Rudolf Arnheim (Winter, 1993), pp. 67- 81.
  • Kocaeli University Journal of Social Sciences, 2013, 25 : 61 - 74
  • PHOTOGRAPHIC VIEW AS A POST-ICONOGRAPHIC IMAGE OF REALITY IN THE
  • CONTEXT OF FLAMAN PAINTING
  • Okt. Ayşe ÖNUÇAK BOZDURGUT•
Toplam 31 adet kaynakça vardır.

Ayrıntılar

Diğer ID JA93AT74RH
Bölüm Makaleler
Yazarlar

Ayşe Önüçak Bozdurgut Bu kişi benim

Yayımlanma Tarihi 1 Haziran 2013
Yayımlandığı Sayı Yıl 2013 Sayı: 25

Kaynak Göster

APA Önüçak Bozdurgut, A. (2013). Flaman Resmi Bağlamında Gerçekliğin Post-İkonografik Resmi Olarak Fotografik Görüntü. Kocaeli Üniversitesi Sosyal Bilimler Dergisi(25), 61-74.

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