{"id":13276,"date":"2021-09-19T01:55:45","date_gmt":"2021-09-18T22:55:45","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=13276"},"modified":"2021-09-19T01:57:31","modified_gmt":"2021-09-18T22:57:31","slug":"japon-sanat-tarihi","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/japon-sanat-tarihi.html","title":{"rendered":"Japon Sanat Tarihi"},"content":{"rendered":"

Japon Sanat Tarihi<\/h2>\n

M\u00d6 10. y\u00fczy\u0131la kadar uzanan Japon sanat tarihi, adaya yerle\u015fen ilk halklar, farkl\u0131 sanatlar \u00fcrettiler. Japon sanat\u0131, y\u00fczy\u0131llar boyunca sava\u015ftan b\u00fcy\u00fck \u00f6l\u00e7\u00fcde etkilenmi\u015ftir; i\u015fgalciler yeni sanatsal teknikler ve stiller tan\u0131tt\u0131. Tarihsel olarak, Japonlar da \u00c7inlilerden b\u00fcy\u00fck \u00f6l\u00e7\u00fcde \u00f6d\u00fcn\u00e7 alm\u0131\u015flard\u0131r. Ancak Japon sanat\u0131 geli\u015ftik\u00e7e kendi stillerini ve geleneklerini de geli\u015ftirdi. Japon sanat\u0131, resim, origami, tahta blok bask\u0131lar, edebiyat, seramik, heykel, kaligrafi, mimari ve manga gibi ortamlar ve t\u00fcrlerle geni\u015f bir yelpazeyi kapsar.<\/p>\n

Tarihsel olarak Japonya, yeni ve yabanc\u0131 fikirlerin ani istilalar\u0131na maruz kalm\u0131\u015ft\u0131r (co\u011frafi ve k\u00fclt\u00fcrel \u00f6zellikleriyle ilgili olarak, \u00fclke neredeyse her zaman “kendi ba\u015f\u0131na bir d\u00fcnya” olmu\u015ftur) ve ard\u0131ndan d\u0131\u015far\u0131yla en aza indirgenmi\u015f uzun s\u00fcreli temas d\u00f6nemleri izlemi\u015ftir.<\/p>\n

Japonya’daki karma\u015f\u0131k sanat\u0131n ilk \u00f6rnekleri, Budizm ile ba\u011flant\u0131l\u0131 olarak 7. ve 8. Y\u00fczy\u0131llarda \u00fcretildi. Dokuzuncu y\u00fczy\u0131lda, Japonlar \u00c7in’in k\u00fclt\u00fcrel etkisinden kurtulmaya ve yerel ifade bi\u00e7imleri geli\u015ftirmeye ba\u015flad\u0131\u011f\u0131nda, sek\u00fcler sanatlar giderek daha \u00f6nemli hale geldi. On be\u015finci y\u00fczy\u0131l\u0131n sonuna kadar hem dini hem de sek\u00fcler sanat geli\u015fti. Onin Sava\u015f\u0131’ndan (1467 – 1477) sonra Japonya, bir as\u0131rdan fazla s\u00fcren sosyal ve ekonomik bir siyasi da\u011f\u0131lma d\u00f6nemine girdi. Tokugawa \u015fogunlu\u011funun \u00f6nderli\u011finde ortaya \u00e7\u0131kan devlet te\u015fkilat\u0131nda, din fakt\u00f6r\u00fc, insanlar\u0131n ya\u015famlar\u0131nda \u00e7ok daha az \u00f6nemli bir rol oynamaya ba\u015flad\u0131.<\/p>\n

Ayr\u0131nt\u0131l\u0131 ve stilize edilmi\u015f mimari bi\u00e7imleri Japon sanat\u0131n\u0131n temel ta\u015flar\u0131ndan biri olsa da resim Japonlar i\u00e7in MS 1000 y\u0131l\u0131 civar\u0131nda Heian d\u00f6neminin sonlar\u0131ndan beri de \u00f6nemliydi Sanat\u00e7\u0131lar, Genji Masal\u0131 gibi hikayeleri yans\u0131tmak i\u00e7in el par\u015f\u00f6menleri ve paneller boyad\u0131lar. Y\u00f6netici gruplar de\u011fi\u015ftik\u00e7e boyama stilleri de s\u0131kl\u0131kla de\u011fi\u015fti. \u00c7inliler gibi, bir\u00e7ok Japon resmi de tasar\u0131m\u0131n bir par\u00e7as\u0131 olarak hat sanat\u0131n\u0131 yans\u0131t\u0131yor. Manzaralar, portreler ve ya\u015fam sahneleri Japon resmiyle ili\u015fkilendirilen geleneksel konulard\u0131r.<\/p>\n

Edo, Ukiyo-e, Keyif \u00c7eyrekleri, Japon Sanat Tarihi<\/h3>\n

Japon tarihinin \u00e7e\u015fitli d\u00f6nemleri, belirli sanat tarzlar\u0131 ve Japon sanat\u0131n\u0131n ve esteti\u011finin geli\u015fimine katk\u0131lar\u0131yla \u00fcnl\u00fc olsa da Edo d\u00f6nemi \u00f6zellikle Ukiyo-e<\/a> ah\u015fap blok bask\u0131lar\u0131 ve Kyoto’nun Keyif \u00c7eyrekleri sanat\u0131 ile \u00fcnl\u00fcd\u00fcr. “y\u00fczen d\u00fcnyan\u0131n” nezaket\u00e7ileri. Bu eserlerin \u00e7o\u011fu, Japonya’n\u0131n yan\u0131 s\u0131ra d\u00fcnyan\u0131n en iyi m\u00fczelerinde sergileniyor.<\/p>\n

\"\"

Ukiyo-e, Japon Sanat Tarihi, Geleneksel Resim Sanat\u0131<\/p><\/div>\n

Amat\u00f6r ve profesyonelce yap\u0131lan resim, Japonya’da tercih edilen sanatsal anlat\u0131md\u0131r. Eski zamanlarda oldu\u011fu gibi bug\u00fcn bile Japonlar kalem yerine f\u0131r\u00e7ayla yazd\u0131lar ve f\u0131r\u00e7a tekniklerinin kullan\u0131m\u0131na olan a\u015final\u0131klar\u0131 onlar\u0131 resmin estetik de\u011ferlerine \u00f6zellikle duyarl\u0131 hale getirdi. Edo d\u00f6neminde pop\u00fcler k\u00fclt\u00fcr\u00fcn y\u00fckseli\u015fiyle, ukiyo-e tahta bask\u0131lar tarz\u0131 \u00f6nemli bir sanat formu haline geldi ve teknikleri, g\u00fcnl\u00fck haberlerden okul kitaplar\u0131n\u0131n konular\u0131na kadar hemen hemen her konunun renkli bask\u0131lar\u0131n\u0131 \u00fcretmek i\u00e7in geli\u015ftirildi. Japonlar her zaman heykelin sanatsal ifadenin \u00e7ok daha az empatik bir arac\u0131 oldu\u011funu d\u00fc\u015f\u00fcnm\u00fc\u015flerdir: Japonya’da heykel kullan\u0131m\u0131 neredeyse her zaman dinin ayr\u0131cal\u0131\u011f\u0131 olmu\u015ftur ve geleneksel Budizm’in azalan \u00f6nemi ile birlikte kullan\u0131m\u0131 azalm\u0131\u015ft\u0131r.<\/p>\n

D\u00fcnyan\u0131n en iyileri aras\u0131nda yer alan seramikler, Japon k\u00fclt\u00fcr\u00fcn\u00fcn bilinen ilk eserlerini temsil ediyor. Mimaride Japonlar, atalar\u0131n\u0131n do\u011fal malzemeler ve i\u00e7 ve d\u0131\u015f mekan aras\u0131ndaki uyumlu etkile\u015fim i\u00e7in tercihlerini her zaman a\u00e7\u0131k\u00e7a ifade etmi\u015flerdir.<\/p>\n

Japon Sanat Tarihi \u015eekillendirici D\u00f6nem<\/h3>\n

6. y\u00fcz y\u0131l\u0131n ortalar\u0131nda Japonya’da Budizm’in geli\u015fi ve beraberinde ikonografi CE Japon g\u00f6rsel anlat\u0131m tarihin dikkate dramatik bir b\u00f6l\u00fcnme \u00e7izgisi olarak hizmet vermektedir. Budizm’in geli\u015fiyle, zaten olgunla\u015fm\u0131\u015f \u00e7ok say\u0131da ikonografi ve sanatsal teknik, kar\u015f\u0131la\u015ft\u0131rmal\u0131 bir h\u0131zla \u00f6z\u00fcmsenmi\u015ftir. Bu an, Japon sanat\u0131n\u0131n geli\u015fiminin seyrini belirledi. Budizm’in ortaya \u00e7\u0131k\u0131\u015f\u0131ndan \u00f6nce gelenler, karma\u015f\u0131k ve s\u00fcrekli g\u00f6zden ge\u00e7irilmi\u015f arkeolojik kay\u0131tlarla ilgili bir meseledir. Veri toplama ve kategorize etme konusundaki yeni ilgi, k\u0131smen Neo-Konf\u00fc\u00e7y\u00fcs\u00e7\u00fc d\u00fc\u015f\u00fcncenin etkisinden ve Avrupa metodolojisinin esas olarak Hollandal\u0131larla temaslar yoluyla tan\u0131t\u0131lmas\u0131ndan kaynaklan\u0131yordu. Bununla birlikte, \u00e7o\u011funlukla, \u00f6nceki d\u00f6nemler gibi Edo, arkeolojik bulgular\u0131 yorumlamak i\u00e7in gereken g\u00f6receli nesnellikten rahats\u0131zd\u0131. Nitekim d\u00f6nemin \u00f6nemli bir entelekt\u00fcel e\u011filimi, kokugaku (ulusal \u00f6\u011frenme), esasen Japonya’n\u0131n benzersiz k\u00f6kenlerinin alt\u0131n\u0131 \u00e7izmek i\u00e7in fenomenleri yorumlamaya kendini adam\u0131\u015f yerlilerden olu\u015fan bir hareketti.<\/p>\n

Heykel<\/h3>\n

623 y\u0131l\u0131nda adanm\u0131\u015f Shaka Triad haricinde, Horyu Tap\u0131na\u011f\u0131’ndaki heykel, yakla\u015f\u0131k 650 ile 711 aras\u0131ndaki bir d\u00f6nemde yap\u0131ld\u0131. Y\u00fczy\u0131l\u0131n ortalar\u0131ndan itibaren yarat\u0131lan heykel, \u00c7in Kuzey Qi hanedan\u0131 (550-577) stillerinin etkisini yans\u0131tmaya ba\u015flar. Bu tap\u0131naklar\u0131n yap\u0131lar\u0131 ayakta kalmazken, baz\u0131 \u00f6nemli heykeller hayatta kald\u0131 ve bu g\u00f6r\u00fcnt\u00fcler genellikle Kuratsukuri Tori (Tori Busshi olarak da bilinir). Tori, \u00c7in’den g\u00f6\u00e7 etmi\u015f olan b\u00fcy\u00fckbabas\u0131 ve ate\u015fli bir Budist olan babas\u0131 gibi, eyer ustalar\u0131 loncas\u0131na aitti. Shaka’n\u0131n b\u00fcy\u00fck, oturmu\u015f, yald\u0131zl\u0131 bronz g\u00f6r\u00fcnt\u00fcs\u00fc Asuka Tap\u0131na\u011f\u0131’ndan g\u00fcn\u00fcm\u00fcze ula\u015fm\u0131\u015ft\u0131r.<\/p>\n

Japon Resim Teknikleri Geli\u015fimi<\/h3>\n

Budist tap\u0131naklar\u0131 sadece heykellerle de\u011fil, ayn\u0131 zamanda dini resimler, duvar hal\u0131lar\u0131 ve di\u011fer nesnelerle de s\u00fcslendi. Asuka d\u00f6nemine ait bu t\u00fcr eserlerin \u00e7o\u011fu g\u00fcn\u00fcm\u00fcze ula\u015famam\u0131\u015ft\u0131r. Bir istisna, Minyat\u00fcrden olu\u015fan Tamamushi T\u00fcrbesi kondo dikd\u00f6rtgen bir kaide veya tabana yap\u0131\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r. Bu ah\u015fap, metal ve vernik toplulu\u011fu, d\u00f6nemin bir kondusunun neye benzedi\u011fine dair m\u00fckemmel bir g\u00f6r\u00fcn\u00fcm sa\u011flar ve belki daha da \u00f6nemlisi, Asuka d\u00f6neminden bilinen tek resimle s\u00fcslenmi\u015ftir.<\/p>\n

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Japon Resim Teknikleri Geli\u015fimi Japon Sanat Tarihi, Kano Hagai, Two Dragons<\/p><\/div>\n

Bunun d\u0131\u015f\u0131nda Japon boyama tarz\u0131, Bat\u0131 resim y\u00f6ntemlerinin yo\u011fun ve sistematik \u00e7al\u0131\u015fmas\u0131na paralel olarak, geleneksel resim alan\u0131nda meydana gelen istikrarl\u0131 bir yenilenme s\u00fcreciydi. Fenollosa, 19. y\u00fczy\u0131l\u0131n sonlar\u0131ndan kalma iki \u00f6nemli ressam\u0131n kariyerlerini yeniden y\u00f6nlendirmede ve kurtarmada \u00f6zellikle etkili oldu. Kano Hagai ve Hashimoto Gaho . Fenollosa, bu geleneksel Kan\u014d okulu ressamlar\u0131n\u0131n daha heyecan verici ve belki de Bat\u0131l\u0131 g\u00f6zlere g\u00f6re daha pazarlanabilir bir \u00fcr\u00fcn yaratmak i\u00e7in tekniklerini nas\u0131l uyarlayabilecekleri hakk\u0131nda belirli fikirlere sahipti. Chiaroscuro, parlak paletler, Bat\u0131 uzaysal perspektifi ve dramatik atmosferin kullan\u0131m\u0131n\u0131 te\u015fvik etti ve bu teknikler, geleneksel Kano resminin daha \u00f6nce can \u00e7eki\u015fen bi\u00e7imlerine yeni ilgi uyand\u0131rmada ger\u00e7ekten etkiliydi.<\/p>\n

Hogai ve Gaho’n\u0131n ba\u015far\u0131s\u0131ndan ilham alan bir ressam ku\u015fa\u011f\u0131, bu ustalar\u0131n teknik uyarlamalar\u0131n\u0131 geni\u015fletmeye \u00e7al\u0131\u015ft\u0131. Shimomura Kanzan,Yokoyama Taikan veHishida Shunso ,Geleneksel Japon pigmentlerinin kullan\u0131ld\u0131\u011f\u0131, ancak tematik bir repertuar\u0131n \u00e7ok geni\u015fledi\u011fi nihonga (Japon resmi) hareketi. Bi\u00e7im art\u0131k kayd\u0131rma veya ekranla s\u0131n\u0131rl\u0131 de\u011fildi ve ara s\u0131ra Bat\u0131 \u00e7er\u00e7eveli resimleri i\u00e7eriyordu.<\/p>\n

Japonya Sanat Tarihi’nde Bat\u0131 Usul\u00fc Resimin Geli\u015fimi<\/h3>\n

855 gibi erken bir tarihte, Meiji Restorasyonundan \u00f6nce Japonlar bir b\u00fcro kurdu. Bat\u0131 teknolojisinde ustala\u015fma \u00e7abas\u0131n\u0131n bir par\u00e7as\u0131 olarak Bat\u0131 resmini incelemek i\u00e7in. M\u00fcfredatta teknik resim vurgulanm\u0131\u015ft\u0131r. Bu b\u00fcrodan mezun olan Takahashi Yuichi, ya\u011fl\u0131 boyayla kesinlikle teknik ilgiden \u00e7ok sanatsal bir ilgiyi ifade eden d\u00f6nemin ilk Japon sanat\u00e7\u0131s\u0131yd\u0131. Kendi kendine e\u011fitim yoluyla ve \u0130ngiliz ill\u00fcstrat\u00f6r Charles Wirgman fikri tart\u0131\u015fmlarla\u00a0 ustal\u0131k seviyesi artt\u0131rd\u0131. Takahashi’nin konuyla ilgili bilinen yedi denemesinden biri olan Nat\u00fcrmort Somon (1877), bu s\u0131radan konuyu muhte\u015fem bir bi\u00e7im ve renk incelemesine y\u00fckseltir.<\/p>\n

\"\"

Takahashi Yuichi Somon,
Japonya Sanat Tarihi’nde Bat\u0131 Usul\u00fc Resimin Geli\u015fimi<\/p><\/div>\n

1876’da bir g\u00fczel sanatlar okulu kuruldu ve Bat\u0131 tekniklerini \u00f6\u011fretmek i\u00e7in \u0130talyan sanat\u00e7\u0131lardan olu\u015fan bir ekip i\u015fe al\u0131nd\u0131. Aralar\u0131nda en etkili olan\u0131 Antonio Fontanesi, sadece bir y\u0131ld\u0131r Japonya’da e\u011fitmenlik yapan Barbizon okulunun ressam\u0131 Fontanesi, Japon \u00f6\u011frencileri aras\u0131nda son derece sad\u0131k bir takip\u00e7i kitlesi olu\u015fturdu.
\nGenel olarak Meiji d\u00f6neminde, Japonya’y\u0131 alg\u0131lanan bir modernite d\u00fczeyine getirmek i\u00e7in daha b\u00fcy\u00fck bir ama\u00e7 i\u00e7in Bat\u0131 temsili y\u00f6ntemlerini incelemek i\u00e7in ba\u015flang\u0131\u00e7ta hesaplanm\u0131\u015f bir strateji oldu\u011fu g\u00f6zlemlenebilir. Bununla birlikte, k\u00fc\u00e7\u00fck ama etkili bir ressam grubu, h\u00fck\u00fcmet planlamas\u0131 taraf\u0131ndan kontrol edilemeyen k\u00fclt\u00fcrler aras\u0131 bir al\u0131\u015fveri\u015fe dahil oldu.<\/p>\n

Japon Seramik Sanat\u0131<\/h3>\n

\u00c7e\u015fitli geleneksel soylar\u0131n devam ettirilmesinin yan\u0131 s\u0131ra modern d\u00f6nem seramiklerinde en \u00f6nemli geli\u015fme halk zevklerine d\u00f6n\u00fc\u015f olmu\u015ftur. Yanagi Soetsu, \u00e7a\u011f\u0131n end\u00fcstrile\u015fme ve kendini b\u00fcy\u00fctme \u00f6zelli\u011fine kar\u015f\u0131 bir d\u00fczeltici olarak anonimli\u011fi, i\u015flevselli\u011fi ve basitli\u011fi benimsedi. \u0130ngiliz sanat\u00e7\u0131 gibi \u00e7\u00f6mlek\u00e7ilerle birlikte Bernard Leach, Hamada Shoji ve Kawai Kanjiro, Yanagi, Muromachi ve Momoyama d\u00f6nemlerinin \u00e7ay ustalar\u0131na hitap eden \u00fcr\u00fcnleri hat\u0131rlatan sa\u011flam, \u00e7ekici bir seramik t\u00fcr\u00fc yaratt\u0131. Kitaoji Rosanjin, Kutani ve daha sonra kyoyaki geleneklerinde olduk\u00e7a s\u00fcsl\u00fc \u00e7al\u0131\u015fmalar\u0131n en \u00f6nemli temsilcisiydi.
\n\u00c7a\u011fda\u015f Japon<\/a> seramikleri hem geleneksel hem de soyut \u00e7izgileri takip ediyor. Geli\u015fmeler, formdaki geni\u015f deneyimler ve geleneksel, i\u015flevsel par\u00e7alardan “sanat” ya da heykel eserlerine kadar genel bir hareketle i\u015faretlendi. Heykelt\u0131ra\u015f ve seramik\u00e7i aras\u0131ndaki \u00e7izgi giderek bulan\u0131kla\u015ft\u0131. Japon Sanat Tarihi.<\/em><\/p>\n

\"\"

Japon Seramik Sanat\u0131, Japon Sanat Tarihi<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

Japon Sanat Tarihi M\u00d6 10. y\u00fczy\u0131la kadar uzanan Japon sanat tarihi, adaya yerle\u015fen ilk halklar, farkl\u0131 sanatlar \u00fcrettiler. Japon sanat\u0131, y\u00fczy\u0131llar boyunca sava\u015ftan b\u00fcy\u00fck \u00f6l\u00e7\u00fcde etkilenmi\u015ftir; i\u015fgalciler yeni sanatsal teknikler ve stiller tan\u0131tt\u0131. Tarihsel olarak, Japonlar da \u00c7inlilerden b\u00fcy\u00fck \u00f6l\u00e7\u00fcde \u00f6d\u00fcn\u00e7 alm\u0131\u015flard\u0131r. Ancak Japon sanat\u0131 geli\u015ftik\u00e7e kendi stillerini ve geleneklerini de geli\u015ftirdi. Japon sanat\u0131, resim, […]<\/p>\n","protected":false},"author":1,"featured_media":13283,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[124],"tags":[],"class_list":["post-13276","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-tarihi"],"yoast_head":"\nJapon Sanat Tarihi - Arthipo<\/title>\n<meta name=\"description\" content=\"Japon Sanat Tarihi Edo, Ukiyo-e, Keyif \u00c7eyrekleri Resim Teknikleri Seramik Sanat\u0131 Bat\u0131 Usul\u00fc Resim \u015eekillendirici D\u00f6nem japonya tablo sanat\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/japon-sanat-tarihi.html\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Japon Sanat Tarihi - 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