{"id":5950,"date":"2016-10-24T16:31:38","date_gmt":"2016-10-24T13:31:38","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=5950"},"modified":"2017-06-07T02:52:21","modified_gmt":"2017-06-06T23:52:21","slug":"leonardo-da-vincinin-cizimleri-taslaklari","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/unlu-klasik-tablolar\/leonardo-da-vincinin-cizimleri-taslaklari.html","title":{"rendered":"Leonardo Da Vinci’nin \u00c7izimleri ve Taslaklar\u0131"},"content":{"rendered":"

Leonardo Da Vinci’nin \u00e7izimleri ve taslaklar\u0131<\/h2>\n

Leonardo da Vinci’nin \u00e7izimleri ve taslaklar\u0131<\/strong>, c\u0327al\u0131\u015fma yo\u0308ntemini ve sanat yap\u0131tlar\u0131n\u0131 nas\u0131l planlad\u0131\u011f\u0131n\u0131 go\u0308sterir. Bu\u0308yu\u0308k altar panolar\u0131ndan o\u0308zel portrelere kadar, sipari\u015f ne olursa olsun, her c\u0327al\u0131\u015fma basit bir taslakla ba\u015flard\u0131. Leonardo da Vinci’nin taslaklar\u0131 pek \u00e7ok konuda d\u00f6neme ve ruhuna ait bilgiler de aktarmaktad\u0131r.<\/p>\n

Leonardo\u2019nun tasar\u0131m yetene\u011fi, y\u0131llar ic\u0327inde binlerce sayfaya ula\u015fan eskiz defterlerinde a\u00e7\u0131\u011fa c\u0327\u0131kar. Bu defterler, onun u\u0308retim yo\u0308ntemini go\u0308sterir.<\/p>\n

Leonardo Da Vinci’nin \u00e7izimleri<\/h2>\n

Leonardo Da Vinci’nin \u00e7izimlerinde kulland\u0131\u011f\u0131 y\u00f6ntem<\/h3>\n

Leonardo sol eliyle \u00e7izerdi. Bir taslak ya da detayl\u0131 bir \u00e7izim i\u00e7in kalem, dolmakalem, tebe\u015fir ve t\u00fcy gibi \u00e7e\u015fitli ara\u00e7lar kullan\u0131rd\u0131. \u0130nce bir g\u00fcm\u00fc\u015f telin kalemin ucuna ge\u00e7irilerek kullan\u0131ld\u0131\u011f\u0131 g\u00fcm\u00fc\u015f u\u00e7 tekni\u011fini severdi. Bu y\u00f6ntemle \u00f6zel ka\u011f\u0131tlara, \u00e7\u0131kmas\u0131 m\u00fcmk\u00fcn olmayan izler b\u0131rak\u0131l\u0131rd\u0131.<\/p>\n

\"leonardo<\/a>

Yukar\u0131da: iki tu\u0308r ayarlanabilir pergel c\u0327izimi . 1493-4. Mu\u0308rekkep kalem taslag\u0306\u0131: bu\u0308yu\u0308k olas\u0131l\u0131kla Leonardo’nun kendi pergelleri.<\/p><\/div>\n

Leonardo Da Vinci’nin \u00e7izimleri birer konu ka\u011f\u0131d\u0131 idi<\/h3>\n

Y\u0131llarca kalemle \u00e7al\u0131\u015f\u0131ld\u0131ktan sonra, profesyonel\u00a0sanat\u00e7\u0131lar art\u0131k bu y\u00f6nteme ge\u00e7mi\u015flerdi. Leonardo Da Vinci, \u00e7izimlerinde, boyutlar\u0131\u00a032 x 44,6 cm olan b\u00fcy\u00fck ka\u011f\u0131tlar kullan\u0131yordu. Bu ona, ka\u011f\u0131t \u00fczerinde\u00a0birden \u00e7ok taslak yapma f\u0131rsat\u0131 veriyordu. Buna, Carlo Pedretti (d.1928) adl\u0131 bir Leonardo ara\u015ft\u0131rmac\u0131s\u0131 taraf\u0131ndan “konu k\u00e2\u011f\u0131d\u0131<\/strong>\u201d ad\u0131 verilmi\u015fti. \u201cKonu k\u00e2\u011f\u0131d\u0131\u201dna Leonardo, akl\u0131ndaki fikirleri d\u00f6kerdi: Bir ba\u015f \u00e7iziminin yan\u0131nda bir siper, bir kol ya da bir el gibi, devam eden projeleriyle ilgili \u015feyleri \u00e7izerdi.<\/p>\n

Leonardo Da Vinci’nin \u00e7izimlerine teknik bak\u0131\u015f<\/h3>\n

Vasari’ye g\u00f6re Leonardo da Vinci, \u00e7ocuklu\u011fu s\u0131ras\u0131nda “\u00e7izmekten ve \u00e7al\u0131\u015fmaktan hi\u00e7bir zaman yorulmam\u0131\u015ft\u0131r.\u201d Ne yaz\u0131k ki, \u00e7\u0131rakl\u0131k \u00f6ncesi \u00e7al\u0131\u015fma y\u00f6ntemlerini g\u00f6sterecek olan \u00e7izimler g\u00fcn\u00fcm\u00fcze kalmam\u0131\u015ft\u0131r.<\/p>\n

\"da-vinci-cizimleri-kedili-eskiz\"<\/a>

Meryem ve bir kedi ic\u0327in c\u0327al\u0131s\u0327ma, 1478-80 civar\u0131, kalem ve kahverengi mu\u0308rekkep, British Museum, Londra, I\u0307ngiltere, 13 x 9,4 cm. Meryem ve C\u0327ocuk I\u0307sa c\u0327iziminin bu versiyonu, o\u0308nceki c\u0327al\u0131s\u0327may\u0131 tersten betimliyor. Burada C\u0327ocuk I\u0307sa ve kedi, Meryem’in kucag\u0306\u0131nda, izleyiciye go\u0308re sola do\u0308necek s\u0327ekilde betimlenmis\u0327tir. Kedi ve c\u0327ocuk, sanki beklenmedik bir s\u0327ey olmus\u0327 gibi merakla bas\u0327lar\u0131n\u0131 c\u0327evirmis\u0327lerdir. Leonardo bu teknig\u0306i, Cecilia Gallerani portresinde mu\u0308kemmelles\u0327tirecektir.<\/p><\/div>\n

Daha sonraki eserlerinden Kedili Meryem ve \u00c7ocuk Isa’n\u0131n (1478 civar\u0131) tasla\u011f\u0131na bakt\u0131\u011f\u0131m\u0131zda, Leonardo’nun Meryem’in ba\u015f\u0131n\u0131n konumunu belirlemeye \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. \u00c7ocuk ve kedinin detaylar\u0131 ise Leonardo’nun en sevdi\u011fi \u00e7al\u0131\u015fma arac\u0131 m\u00fcrekkep kalemle \u00e7izilmi\u015f. Giotto\u2019yu an\u0131msatan oturan model i\u00e7in kuma\u015fl\u0131 bir \u00e7al\u0131\u015fmas\u0131nda ( 1475-8 civar\u0131), kuma\u015f\u0131n bir b\u00f6l\u00fcm\u00fc \u00e7izildikten sonra detayl\u0131 bir \u015fekilde boyan\u0131p, chiaroscuro tekni\u011fi<\/strong> kullan\u0131larak, giysinin yumu\u015fak katlar\u0131 ve beden hatlan vurgulanm\u0131\u015ft\u0131r.<\/p>\n

Leonardo Da Vinci’nin \u00e7izimleri\u00a0ve insan y\u00fczleri<\/h3>\n
\"leonardo<\/a>

leonardo da vinci’nin \u00e7izimleri – grotesk insan y\u00fczleri profilleri<\/p><\/div>\n

Leonardo zaman\u0131n\u0131n b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fcn\u00fc Milano sokaklar\u0131n\u0131 dola\u015f\u0131p, ilgin\u00e7 y\u00fczl\u00fc insanlar arayarak gec\u0327iriyordu. Son Ak\u015fam yeme\u011fi ndeki 13 figu\u0308r ic\u0327in, farkl\u0131 ifadelere sahip farkl\u0131 insanlar bulman\u0131n zorunlu oldu\u011funu hissediyordu. Buradaki taslakta, fig\u00fcrleri\u00a0grotesk bir boyuta ta\u015f\u0131m\u0131\u015ft\u0131.<\/p>\n

\"leonardo<\/a>
\nLeonardo da Vinci ya da Francesco Melzi’ye atfedilen yukar\u0131daki\u00a0sayfada, b\u00fcy\u00fck olas\u0131l\u0131kla ger\u00e7ek hayattan \u00e7izilmi\u015f yedi tane ba\u015f ve y\u00fcz profili vard\u0131r. Baz\u0131 fig\u00fcrler, Leonardo’nun ba\u015fka bir sayfadaki deseninden do\u011frudan<\/p>\n

kopyad\u0131r. Leonardo ya h\u0131zl\u0131 bir \u015fekilde not defterine \u00e7izerek ya da akl\u0131nda tutarak, bir\u00e7ok farkl\u0131 ba\u015f\u0131n de\u011fi\u015fik kombinasyonlar\u0131n\u0131 \u00e7izerdi. Onun g\u00f6r\u00fc\u015f\u00fcne g\u00f6re, korkun\u00e7 bir y\u00fcz kolay hat\u0131rlan\u0131rd\u0131. Y\u00f6ntemini, 1492-1510 tarihli Trattato della pittura\u2019n\u0131n (Resim \u00dczerine inceleme) “Yaln\u0131zca bir kere g\u00f6r\u00fclen ki\u015finin profili nas\u0131l yap\u0131l\u0131r,” ba\u015fl\u0131\u011f\u0131nda anlatm\u0131\u015ft\u0131r.<\/p>\n

\"leonardo<\/a>

Grotesk bir bas\u0327 c\u0327al\u0131s\u0327mas\u0131, 1500-5 civar\u0131, siyah tebes\u0327ir, Christ Church, Oxford, I\u0307ngiltere, 39 x 28 cm.<\/p><\/div>\n

Leonardo, incelemelerinde yu\u0308zu\u0308n fizyolojik \u00f6zelliklerinin ifadenin detaylar\u0131yla olan ili\u015fkisinden s\u00f6z eder. Daha sonraki yazarlar grotesk o\u0308zellikleri ki\u015finin zihinsel durumuyla ili\u015fkilendirmi\u015flerdir. Ayn\u0131 zamanda bu \u00e7izimin sahibi\u00a0olan, tarih\u00e7i ve sanat\u00e7\u0131 Giorgio Vasari\u2019ye go\u0308re \u00e7izimdeki ki\u015fi, “\u00e7ingeneler k\u0131ral\u0131 Scaramuccia”d\u0131r. Ba\u015fkalar\u0131 bunun, kay\u0131p bir resim olan Isa\u2019n\u0131n A\u015fa\u011f\u0131lanmas\u0131’ndaki seyircilerden biri ic\u0327in eskiz oldu\u011funu d\u00fc\u015f\u00fcnmektedir. Bu, Leonardo\u2019nun \u00e7izdi\u011fi en b\u00fcy\u00fck grotesk ba\u015ft\u0131r. (Yukar\u0131da )<\/p>\n

\"Da<\/a>

Kel bir adam\u0131n profilden portresi, 1485-90 civar\u0131, m\u00fcrekkep kalem, Royal Library, Windsor \u015eatosu, I\u0307ngiltere, 16 x 13,5 cm.<\/p><\/div>\n

Yukar\u0131daki eskiz b\u00fcy\u00fck olas\u0131l\u0131kla modele \u00e7ok benzeyen bir \u00e7al\u0131\u015fma olsa da, Leonardo bu \u015fi\u015fman ve kel adam\u0131 karikat\u00fcrize etmi\u015ftir. Ki\u015finin fazla kilolar\u0131, bedenin hacmini vurgulayan birka\u00e7 kalem darbesiyle\u00a0belirtilmi\u015ftir. Geni\u015f bir al\u0131n alt\u0131nda \u00e7\u00f6k\u00fck g\u00f6zler, kancal\u0131 ya da k\u0131r\u0131k bir burun, \u00e7\u0131k\u0131nt\u0131l\u0131 bir \u00e7ene ve gerdan, Leonardo\u2019nun \u00f6zellikleri farkl\u0131la\u015ft\u0131rarak pek \u00e7ok farkl\u0131 y\u00fcz yaratma y\u00f6n\u00fcndeki kuram\u0131n\u0131 desteklemektedir. Bu \u00e7izim, onun di\u011fer\u00a0ya\u015fl\u0131 ve kel adam \u00e7izimlerine de benzer.<\/p>\n

R\u00f6nesans elbiseli k\u0131z \u00e7izimi<\/h4>\n
\"leonardo<\/a>

Leonardo\u2019ya atfedilen La Bella Principessa, (19. y\u00fczy\u0131l ba\u015flar\u0131nda bilinen ad\u0131yla R\u00f6nesans Elbiseli Gen\u00e7 K\u0131z\u0131n Profili), par\u015f\u00f6men \u00fczerine k\u0131rm\u0131z\u0131 ve beyaz tebe\u015fir, m\u00fcrekkep kalem, \u00f6zel koleksiyon, 33 x 24 cm.<\/p><\/div>\n

Bu k\u00fc\u00e7\u00fck tebe\u015fir \u00e7izim, \u00f6nceleri 19. y\u00fczy\u0131la ait bir Alman i\u015fi say\u0131l\u0131yordu ama\u00a0Vinci’deki Museo Ideale\u2019nin m\u00fcd\u00fcr\u00fc Alessandro Vezzos\u0131, 2008’de bu \u00e7izimin Leonardo\u2019ya ait oldug\u0306<\/span>unu iddia etmi\u015f ve bu, Oxford \u00dcniversitesi Sanat Tarihi B\u00f6l\u00fcm\u00fcnden emekli Profes\u00f6r Kemp taraf\u0131ndan 2009 y\u0131l\u0131nda do\u011frulanm\u0131\u015ft\u0131r. Profes\u00f6r Kemp resme La Bella Principessa ad\u0131n\u0131 vermi\u015ftir, \u00e7\u00fcnk\u00fc resimdeki gen\u00e7 kad\u0131n\u0131n, Ludovico Sforza ve metresi Bernardina de Corradis’in k\u0131z\u0131 Bianca Sforza oldu\u011funu d\u00fc\u015f\u00fcnmektedir. \u00c7izimde, Leonardo\u2019nun \u015fimdi Vatikan M\u00fczesinde olan yar\u0131m kalm\u0131\u015f Aziz Hieronymus tablosundakine uyan bir\u00a0parmak m\u00fchr\u00fc ve avu\u00e7 i\u00e7i m\u00fchr\u00fc bulunmu\u015ftur.<\/p>\n

\"Leonardo<\/a>

A\u015fa\u011f\u0131ya bakan kad\u0131n ba\u015f\u0131, 1468-75 civar\u0131, siyah tebe\u015fir\u00a0ya da metal u\u00e7, kahverengi ve gri-siyah lavi, kur\u015fun beyaz vurgulama, Gabinetto dei Disegni e delle Stampe, Galleria degli Uffizi, Floransa, I\u0307talya,\u00a028 x 20 cm.<\/p><\/div>\n

Leonardo’ya atfedilen yukar\u0131daki\u00a0\u00e7izim, a\u015fa\u011f\u0131ya do\u011fru bakan g\u00fczel bir kad\u0131n\u0131 betimliyor. Ba\u015f\u0131ndaki bant, \u00fczerindeki sa\u00e7 \u00f6rg\u00fclerini ve alt\u0131ndaki\u00a0l\u00fcleleri vurguluyor. \u00c7izim, Andrea del Verrocchio’nun Meryem ve \u00c7ocuk Isa (1470 civar\u0131) resmindeki Meryem’e benziyor. Bu \u00e7izim b\u00fcy\u00fck olas\u0131l\u0131kla o resmin bir kopyas\u0131d\u0131r. Yak\u0131ndan bak\u0131ld\u0131\u011f\u0131nda, \u00e7izimin \u00fczerinden pek \u00e7ok kez ge\u00e7ildi\u011fi ve farkl\u0131 ara\u00e7lar kullan\u0131ld\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcyor. Bu nedenle, \u00e7izimin kesin olarak Leonardo’ya ait oldu\u011fu s\u00f6ylenememektedir.Bu gibi baz\u0131\u00a0leonardo da vinci’nin \u00e7izimleri at\u00f6lyesindeki \u00f6\u011frencilerinin de katk\u0131s\u0131yla son haline ula\u015fm\u0131\u015ft\u0131r.<\/p>\n

Leonardo Da Vinci’nin \u00e7izimleri\u00a0Fizik-Mekanik-M\u00fchendislik<\/h3>\n

\"leonardo<\/a><\/p>\n

Da Vinci \u00e7izimleri Sadece sanat alan\u0131nda de\u011fil , mekanik , m\u00fchendislik ,mimari ve anatomi alan\u0131nda da mevcuttur. Bu \u00e7izimlerde Da Vinci’nin \u00e7ok y\u00f6nl\u00fc bilimsel d\u00fc\u015f\u00fcncesinin yan\u0131nda .Asl\u0131nda bilime de sanatsal bak\u0131\u015f a\u00e7\u0131s\u0131yla bakt\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr\u00fcz.<\/p>\n

\"leonardo<\/a>

Kanad\u0131 hareket ettirecek bir du\u0308zenek tasar\u0131m\u0131, 1505 civar\u0131, ka\u0302g\u0306\u0131t u\u0308zerine mu\u0308rekkep kalem, Biblioteca Reale, Torino, I\u0307talya, 2 1,3 x 15,4 cm.<\/p><\/div>\n

 <\/p>\n

\"Leonardo<\/a>

Dik duran kanatl\u0131 bir uc\u0327an makine tasar\u0131m\u0131 (Paris Elyazmas\u0131 B, fol. 80r), ka\u0302g\u0306\u0131t u\u0308zerine mu\u0308rekkep kalem,
1488-90, Bibliotheque de l\u2019lnstitut de France, Paris, Fransa, 23,2 x 16,5 cm.<\/p><\/div>\n

 <\/p>\n

\"Leonardo<\/a>

Leonardo Da Vinci’nin \u00e7izimleri mekanik ve m\u00fchendislik alan\u0131nda da g\u00fcn\u00fcm\u00fcze uzanan pek \u00e7ok \u00e7al\u0131\u015fmas\u0131 vard\u0131r.<\/p><\/div>\n

 <\/p>\n

\"Leonardo<\/a>

U\u00e7an makine tasar\u0131m \u00e7izimleri . K\u0131smen rijit kus\u0327 kanad\u0131 cihaz\u0131 (Codex Atlanticus, fol. 858r), 1488-90 civar\u0131, ka\u0302g\u0306\u0131t u\u0308zerine mu\u0308rekkep kalem ve k\u0131rm\u0131z\u0131 tebes\u0327ir, Biblioteca Ambrosiana, Milano, I\u0307talya,
28,9 x 20,5 cm.<\/p><\/div>\n

Leonardo Da Vinci’nin taslaklar\u0131<\/h2>\n

Leonardo Da Vinci’nin taslaklar\u0131 g\u00fcn\u00fcm\u00fcze ne kadar ula\u015fabildi ?<\/h3>\n

Leonardo\u2019nun ne kadar tasla\u011f\u0131n\u0131n kayboldu\u011fu tart\u0131\u015fma konusudur ve tarih\u00e7ilerin g\u00f6r\u00fc\u015fleri farkl\u0131d\u0131r, ama b\u00fcy\u00fck olas\u0131l\u0131kla t\u00fcm taslaklar\u0131n yar\u0131s\u0131 ila be\u015fte d\u00f6rd\u00fc\u00a0aras\u0131ndaki say\u0131 da taslak kay\u0131pt\u0131r.
\n\"leonardo<\/p>\n

\n

Leonardo Da Vinci’nin taslaklar\u0131\u00a0ve kenar notlar\u0131<\/h3>\n

\"da<\/a>
\nKa\u011f\u0131tta, ya\u015fl\u0131 bir adam\u0131n dikkatlice \u00e7izilmi\u015f bir profili ve onunla ili\u015fkisiz geometrik \u015fekiller var. Buna ek olarak, binici ve at\u0131 gibi k\u00fc\u00e7\u00fck fig\u00fcrler bulunuyor. Leonardo, daha sonra Resim \u00dczerine ad\u0131yla yay\u0131mlanan notlar\u0131nda \u015fu tavsiyede bulunur:<\/p>\n

Bir y\u00fcz\u00fc akl\u0131n\u0131zdan \u00e7izecekseniz yan\u0131n\u0131zda o y\u00fcz\u00fcn \u00f6zelliklerini yazaca\u011f\u0131n\u0131z bir not defteri bulundurun. Korkun\u00e7 suratlar\u0131 saym\u0131yorum, \u00e7\u00fcnk\u00fc onlar kolayca ak\u0131lda kal\u0131r,<\/p><\/blockquote>\n

\"leonardo<\/a>

Yukar\u0131da: iki insan, patlay\u0131c\u0131 bombalar ve yaz\u0131lar\u0131n oldu\u011fu bir taslak . Leonardo’nun tipik h\u0131zla c\u0327izilmi\u015f taslaklar\u0131, sa\u011fdan sola yaz\u0131lm\u0131\u015f ayna yaz\u0131lar\u0131yla doludur.<\/p><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Leonardo Da Vinci’nin \u00e7izimleri ve taslaklar\u0131 Leonardo da Vinci’nin \u00e7izimleri ve taslaklar\u0131, c\u0327al\u0131\u015fma yo\u0308ntemini ve sanat yap\u0131tlar\u0131n\u0131 nas\u0131l planlad\u0131\u011f\u0131n\u0131 go\u0308sterir. Bu\u0308yu\u0308k altar panolar\u0131ndan o\u0308zel portrelere kadar, sipari\u015f ne olursa olsun, her c\u0327al\u0131\u015fma basit bir taslakla ba\u015flard\u0131. Leonardo da Vinci’nin taslaklar\u0131 pek \u00e7ok konuda d\u00f6neme ve ruhuna ait bilgiler de aktarmaktad\u0131r. Leonardo\u2019nun tasar\u0131m yetene\u011fi, y\u0131llar ic\u0327inde […]<\/p>\n","protected":false},"author":1,"featured_media":5978,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[248],"tags":[],"class_list":["post-5950","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-unlu-klasik-tablolar"],"yoast_head":"\nLeonardo Da Vinci'nin \u00c7izimleri ve Taslaklar\u0131 - Arthipo<\/title>\n<meta name=\"description\" content=\"Leonardo Da Vinci'nin \u00e7izimleri ve taslaklar\u0131. 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