BAROK RESİM SANATINDA İSKENDERİYELİ AZİZE CATHERINE

Yıl 2022, , 75 - 98, 22.06.2022

Vildan Işık

https://doi.org/10.20488/sanattasarim.1133791

Öz

Erken Hristiyanlık martirlerinden biri olarak kabul edilen İskenderiyeli Azize Catherine, Bakire
Meryem’den sonra Hristiyanlıkta en fazla resmedilen ‘kutsal bakire’ figürüdür. On üçüncü yüzyılda
derlenen Altın Efsane kitabı, azizeye ilişkin efsanelerin yaygınlaşmasında önemli rol oynar. Orta Çağ’dan
beri efsanesi genişleyen ve değişen hikâyelerle donatılarak kültleştirilen Catherine; soyluluğu, felsefi bilgisi,
belagatı, cesareti, zekâsı, çarpıcı güzelliği ve kararlı inancına dair hikâyeleri ile yüzyıllarca sanata konu olur.
Catherine’in Orta Çağ’ın sonlarına doğru başlayan popülerliği, Rönesans ve Maniyerist dönemlerin ardından
Barok dönem boyunca da Katolik Kilisesi’nin desteğini alarak devam eder. Catherine’in; portreleri, İsa ile
yaptığı mistik evliliği, filozoflarla ihtilafı, pagan idollere tapmayı reddetmesi ve martirliğinin yanı sıra kutsal
kabul edilen diğer figürlerle birlikte gösterildiği sayısız tasviri yapılır. Bu çalışmada müze ve galerilerde yer
alan İskenderiyeli Azize Catherine’in Barok dönemde yapılmış tuval üzeri yağlıboya tablolarının araştırılması
ve ikonografik olarak incelenmesi amaçlanmıştır. Genişletilen ve/veya değiştirilen hikâyelere dayanan bu
resimler, kültleştirilen azizenin şüpheli tarihsel kişiliğine rağmen uzun yıllar hem kilise sunaklarını hem de
aristokratların duvarlarını süslemiştir.

Anahtar Kelimeler

Barok Resim, İskenderiyeli Azize Catherine, İkonografi, Dinsel Sanat

SAINT CATHERINE OF ALEXANDRIA IN BAROQUE PAINTING

Öz

Saint Catherine of Alexandria, considered one of the early Christian martyrs, is the most illustrated
“holy virgin” figure in Christianity after the Virgin Mary. The Golden Legend book, compiled in the thirteenth
century, plays an important role in the spreading of legends about the saint. Catherine, whose legend has
expanded since the Middle Ages and has been cultized with changing stories; has been the subject of art
for centuries with the stories about her nobility, philosophical knowledge, eloquence, courage, intelligence,
striking beauty and determined belief. The popularity of Catherine, started towards the end of the Middle Ages,
continues also throughout the Baroque period after the Renaissance and Mannerist periods with the support
of the Catholic Church. There are numerous portraits of Catherine; her mystical marriage to Jesus, her conflict
with philosophers, her refusal to worship pagan idols, and her martyrdom, as well as her numerous illustrations
with other sacred considered figures. In this study, it is aimed to investigate and iconographically examine the
oil paintings of St. Catherine of Alexandria on canvas, found at the museums and galleries, which were made
in the Baroque period. These paintings, based on stories that have been expanded and / or changed, adorned
both church altars and walls of aristocrats for many years, despite the dubious historical personality of the
cultized saint.

Anahtar Kelimeler

Baroque Painting, Saint Catherine of Alexandria, Iconography, Religious Art

Kaynakça

• • Dunn, M. (2012). Invisibilia Per Visibilia: Roman Nuns, Art Patronage, And The Construction Of Identity. Wives, Widows, Mistresses, And Nuns in Early Modern Italy: Making the İnvisible Visible Through Art and Patronage. (Ed.). Katherine McIver. 9:181-205. https://www.luc.edu/media/lucedu/ccih/formsdocumentsandpdfs/MDunn%20Invisibilia%20.pdf (erişim 06.02.2021).
• • Estivill, D. (2013). Iconography and iconology in Caravaggio: A Catholic Key To Understanding The Works. New Caravaggio, The Caravaggio Seminar at Uppsala University and the Newman Institute in Uppsala. Papers presented at the international conferences in Uppsala and Rome. 81-102.
• • Even, Y. (1990). The Heroine As Hero In Michelangelo’s Art. Woman’s Art Journal. 11 (1), 29-33. https://www.jstor.org/ stable/1358384 (erişim 02.02.2021).
• • Jeremy, S. M. (1946, Nisan). Caxton’s Golden Legend and Varagine’s Legenda Aurea. The University of Chicago Press on behalf of the Medieval Academy of America. Speculum. 21 (2), 212-221. https://www.jstor.org/stable/2851318 (erişim 11.02.2021).
• • Kivelson, V. (2007). Imperial Saint: The Cult Of St. Catherine And The Dawn Of Female Rule In Russia By Gary Marker. Cahiers Du Monde Russe, 48 (4), 679-682. https://www.jstor.org/stable/40418845 (erişim 01.02.2021).
• • Knight, C. (2013, 26 Kasım). Recovered Nazi-looted painting on view at LACMA. Los Angeles Times. https://www.latimes. com/entertainment/arts/culture/la-et-cm-nazi-art-lacma-20131126-story.html (erişim 26.02.2021).
• • Muir, C. D. (2009). Saint Catherine of Alexandria’s Marriage to the Adult Christ in Two Burgundian Manuscripts. The University of Chicago Press on behalf of the Bard Graduate Center. Notes in the History of Art. 28 (4), 1-7. https://www.jstor.org/ stable/23208577 (erişim 11.02.2021).
• • Michel, C. (2018, Şubat). The Académie Royale de Peinture Et De Sculpture: The birth of the French School, 1648-1793. (Trans.). Chris Miller. The Getty Research Institute. https://books.google.com.tr/books?id=KvA9DwAAQBAJ&printsec=frontc over&hl=tr#v=onepage&q&f=false (erişim 20.02.2021).
• • Paleotti, G. Discorso Intorno Alle Imagini Sacre E Profane. Fondazione Memofonte. http://www.memofonte.it/home/files/pdf/ scrittipaleotti.pdf (erişim 05.02.2021) (Özgün eser 1592 tarihlidir).
• • Pixley, M. L. (2012). Preserved For Eternity On Obsidian A Baroque Painting Showing The Miracle Of Milk At St. Catherine of Alexandria’s martyrdom. Annual of the Museum of Art and Archaeology, University of Missouri. MVSE, 46. https://maa. missouri.edu/sites/default/files/article/muse46.pixley.article.pdf (erişim 03.02.2021).
• • Rifat, S. (2008). “Kutsal Kitap’a Sanat Karışırsa”. Ezgiler Ezgisi “Neşideler Neşidesi”. (Çev.). Samih Rifat, İstanbul: Can.
• • Tolomelli, D., S. Zatti. (2018, 05 Nisan). Santa Caterina d’Alessandria - Reni, Guido. Lombardia Beni Culturali. http://www. lombardiabeniculturali.it/opere-arte/schede-complete/F0200-00043/ (erişim 21.02.2021).