{"id":6337,"date":"2016-11-02T22:00:07","date_gmt":"2016-11-02T19:00:07","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=6337"},"modified":"2017-06-07T02:24:27","modified_gmt":"2017-06-06T23:24:27","slug":"barok-mimarisi-mimarlik","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/barok-mimarisi-mimarlik.html","title":{"rendered":"Barok Mimarisi"},"content":{"rendered":"

Barok Mimarisi, Mimarl\u0131k Sanat\u0131<\/span><\/h2>\n

Barok Mimarisi, bu d\u00f6nemin devlet ve kilisesinin mut\u00adlak egemenli\u011fi yap\u0131larda, \u00f6zellikle saray ve kiliselerde g\u00f6r\u00fcld\u00fc. Saray\u0131n g\u00f6steri\u015fli b\u00fcy\u00fckl\u00fck duygusu, \u00f6zellikle saray yap\u0131s\u0131nda simgeleniyordu. Barok yap\u0131n\u0131n mimar\u0131, g\u00f6steri\u015fi, b\u00fcy\u00fckl\u00fc\u011f\u00fc, abart\u0131l\u0131 olan\u0131, bol s\u00fcs \u00f6\u011fesini, krall\u0131\u011f\u0131n egemenlik hususundaki e\u015fsizli\u011fini yans\u0131tacak \u00f6l\u00e7\u00fcde planl\u0131yordu. Kalabal\u0131k g\u00f6steriler ve e\u011flenceler i\u00e7in, b\u00fcy\u00fck, g\u00f6rkemli salonlar, kral\u0131n geni\u015f maiyeti i\u00e7in y\u00fczlerce oda, mimar\u0131n program\u0131na giriyordu. Ayr\u0131ca yap\u0131n\u0131n s\u00fcslemesi gere\u011fi, t\u00fcm plastik sanatlar, mimarinin \u00e2deta emrine veriliyordu.<\/p>\n

\"Sant<\/a>

Sant Agnese, Roma, Rainaldi ve Boromini<\/p><\/div>\n

Barok Mimarisi, yap\u0131lar\u0131n d\u0131\u015f ve i\u00e7 duvarlar\u0131 tabandan tavana de\u011fin s\u00fcslemeler, resimler ve heykellerle donat\u0131l\u0131yor ve salon tavanlar\u0131 ya da kubbeler, g\u00f6\u011fe a\u00e7\u0131lm\u0131\u015f pencereler gibi, bulutlar ve g\u00f6kte dola\u015fan ya da u\u00e7an fig\u00fcrlerle doldurulmu\u015f kompozisyonlar haline getiriliyordu. K\u0131sacas\u0131 yap\u0131 i\u00e7i, aldat\u0131c\u0131 resimlerin mek\u00e2n\u00adlar\u0131 ile geni\u015fletiliyordu. Ayr\u0131ca boya, heykel ve stuk s\u00fcslemeleri\u00adne ili\u015fkin \u00f6\u011felerle sahte, yapmac\u0131kl\u0131 bir dekor, ger\u00e7ek mimariyi \u00e2deta ortadan kald\u0131r\u0131yordu. Yap\u0131m\u0131n plan\u0131, girintili \u00e7\u0131k\u0131nt\u0131l\u0131 bir hale getiriliyor, oval kubbeler ve dolamba\u00e7l\u0131 merdivenler bunlara ekleniyordu. Ayr\u0131ca g\u00f6rkemli boyutlara ula\u015fan saray yap\u0131s\u0131n\u0131n, \u00f6zellikle arka k\u0131sm\u0131na u\u00e7suz bucaks\u0131z bah\u00e7eler ekleniyordu.<\/p>\n

Kilise yap\u0131s\u0131 da saray gibi a\u015f\u0131r\u0131 bir s\u00fcsl\u00fcl\u00fc\u011fe bo\u011fuluyordu. Ya\u00adp\u0131n\u0131n yangemileri, eski bazilikadaki uzun dikd\u00f6rtgen bi\u00e7imini yitiriyor ve par\u00e7al\u0131 ni\u015fler haline geliyordu. Kilise ortagemisinin ve \u00e7aprazgemi kanatlar\u0131n\u0131n \u00fczerine konan oval kubbeler de, eski bazilikal sistemi tamamen ortadan kald\u0131ran ba\u015fka bir plan yara\u00adt\u0131yordu. K\u0131sacas\u0131, R\u00f6nesans’\u0131n merkezi, kubbeli mimarisi de ortadan kalk\u0131yordu. Mimar olarak, yap\u0131n\u0131n duvarlar\u0131n\u0131 ni\u015f\u00adlerle par\u00e7al\u0131yor ve girintili \u00e7\u0131k\u0131nt\u0131l\u0131 bir duvar sistemi ile \u00f6ny\u00fcze de a\u015f\u0131r\u0131 kabart\u0131l\u0131 bi\u00e7imlemelere sahip kuleler ekliyordu. Barok Mimarl\u0131k ayr\u0131\u00adca yap\u0131ya oval kubbeli bir bazilika plan\u0131 veriyordu.<\/p>\n

 <\/p>\n

\"Trevi<\/a>

Trevi Fountain, Trevi \u00c7e\u015fmesi, Niccola Salvi \u0130talya<\/p><\/div>\n

 <\/p>\n

\"Trevi<\/a>

Trevi Fountain, Trevi \u00c7e\u015fmesi, Niccola Salvi \u0130talya<\/p><\/div>\n

 <\/p>\n

Barok Mimari \u0130spanya Yans\u0131malar\u0131<\/h2>\n

Barok mimarl\u0131k \u0130spanya’da da geli\u015fti. Ancak bu \u00fclkenin eski efendileri olan Araplardan kimi yap\u0131 s\u00fcslemeleri ile Gotik hatta eski Meksika ve Peru’dan al\u0131nan \u00f6rgelerden olu\u015fturulmu\u015f bir de\u00adkorasyon (Churriguerisme), bu Akdeniz yar\u0131madas\u0131n\u0131n barok yap\u0131lar\u0131na de\u011fi\u015fik bir giyim de sa\u011flam\u0131\u015ft\u0131.<\/p>\n

Almanya’da Barok Mimarl\u0131k Sanat\u0131<\/h2>\n

Barok Mimari Alman topra\u011f\u0131ndaki geli\u015fimi daha \u00e7ok Alpierin he\u00admen kuzeyindeki \u00fclkelerde oldu. Borromini’nin plan\u0131 geli\u015ftirile\u00adrek yerel bir bi\u00e7ime sokuldu. Johann Michael Fischer ve Fischer Von Erlach gibi mimarlar, transept (\u00e7aprazgemi)- ortagemi kav\u015fa\u011f\u0131nda oval bir kubbe ile merkezi sistemli say\u0131labi\u00adlecek yatay planl\u0131 bir kilise yap\u0131s\u0131 ger\u00e7ekle\u015ftirdiler, Baltasar Neumann, Lucas Von Hildebrandt da kilise, manast\u0131r ve saray yap\u0131s\u0131nda \u00f6nemli yerli de\u011fi\u015fiklikler yapt\u0131lar.<\/p>\n

Barok Mimari Ak\u0131m\u0131 Fransa’da Geli\u015fimi<\/h3>\n

Ancak, Barok Mimarisi saray mimarl\u0131\u011f\u0131ndaki \u00f6nc\u00fcler Frans\u0131zlar oldular. Bu hususta \u0130talyan mimarlar\u0131n bir katk\u0131s\u0131 olmad\u0131. Yaln\u0131z R\u00f6ne\u00adsans’\u0131n \u00fcnl\u00fc mimarlar\u0131 olan Alberti, Palladio ve Vignola\u2019n\u0131n Barok saray yap\u0131s\u0131n\u0131 etkileyen kuramlar\u0131, Frans\u0131zlar g\u00f6zden uzak tutmad\u0131. Paris’te mimarl\u0131k sanat\u0131n\u0131n \u00f6\u011fretildi\u011fi Academie de l’Architecture’de bu R\u00f6nesans mimarlar\u0131n\u0131n g\u00f6r\u00fc\u015fleri \u00f6zellikle benimseniyordu, \u00f6yle ki. 1665 de XIV. Louis, Louvre’un in\u015faat\u0131n\u0131 s\u00fcrd\u00fcrmesi i\u00e7in \u0130talyan Lorenzo Bernini’yi \u00e7a\u011f\u0131rd\u0131. Ancak bu heykelci mimar\u0131n yapt\u0131\u011f\u0131 plan\u0131 hem kendisi, hem Frans\u0131z mimarlar be\u011fenmediler ve hatta ona kar\u015f\u0131 cephe bile ald\u0131lar. Bunun \u00fczerine Frans\u0131z mimar\u0131 Claude Ferrault’un plan\u0131, saraya eklenme\u011fe ba\u015fland\u0131. Bu plan, Frans\u0131z Mi\u00admarl\u0131k akademisinde \u00f6\u011fretilen R\u00f6nesans ak\u0131lc\u0131l\u0131\u011f\u0131na dayanan bir sadeli\u011fe sahipti. Bu nedenle Frans\u0131zlar\u0131n barok \u00fcsluptan \u00e7ok klasik bir sadeli\u011fi benimsedikleri anla\u015f\u0131l\u0131yordu.<\/p>\n

 <\/p>\n

\u0130ngiltere’deki Barok Yap\u0131lar<\/h2>\n

\u0130ngilizler de Frans\u0131zlar gibi ayn\u0131 klasisist sadeli\u011fi benimsediler. \u0130ngiliz barok d\u00f6neminin mimar\u0131 Sir Christopher Wren, Palladio’nun prensiplerini benimseyerek \u0130ngilizlere \u00f6zg\u00fc so\u011fuk soylulu\u011fun gereksinimlerini kar\u015f\u0131layan bir plan geli\u015ftirdi. Palla\u00addio’nun bah\u00e7eli ev tipi, soylu ingilizlerin k\u0131r evi plan\u0131na yeni bir \u00e7ehre kazand\u0131rd\u0131\u011f\u0131 gibi, do\u011fal manzara etkisindeki “\u0130ngiliz Bah\u00e7esinin geli\u015fmesine de yard\u0131mc\u0131 olmu\u015ftu. Bu bah\u00e7e anlay\u0131\u015f\u0131, Frans\u0131z saraylar\u0131n\u0131n arkas\u0131 ve \u00f6n\u00fcndeki simetrik, labirent bi\u00e7imli, tra\u015fl\u0131 a\u011fa\u00e7lardan olu\u015fturulmu\u015f barok park\u0131ndan tamamen ayr\u0131l\u0131yordu.<\/p>\n

\"St<\/a>

St Paul Katedrali, Lodra \u0130ngiltere, Barok Mimarisi, Christopher Wren<\/p><\/div>\n

Kent d\u0131\u015f\u0131nda ger\u00e7ekle\u015ftirilen barok mimarisi saray ile kent i\u00e7inde in\u015fa edilmi\u015f R\u00f6nesans saray\u0131, birbirlerinden tamamen farkl\u0131 bir plana sahipti. R\u00f6nesans saray\u0131n\u0131n g\u00f6steri yeri, ortas\u0131ndaki avlu idi. Sa\u00adray yap\u0131s\u0131n\u0131n bu nedenle d\u0131\u015fa bakan y\u00fcz\u00fc de\u011fil, i\u00e7e bakan y\u00fcz\u00fc \u00f6nem kazanm\u0131\u015ft\u0131. Bu nedenle de R\u00f6nesans avlusuna “Onur Avlusu” deniyordu. Yap\u0131n\u0131n da merkezi, bu avlu idi. Bu yap\u0131 d\u0131\u015fa kapal\u0131d\u0131r ve yaln\u0131z saray sosyetesine aittir. Oysa barok saray, d\u0131\u015fa g\u00f6steri\u015f i\u00e7in yap\u0131lm\u0131\u015ft\u0131r, \u00f6rne\u011fin Versailles Saray\u0131’n\u0131n d\u0131\u015f \u00f6n bah\u00e7eye a\u00e7\u0131lan y\u00fcz\u00fc \u00e7ok s\u00fcsl\u00fcd\u00fcr ve uzunlu\u011fu da 576 m. dir. Yap\u0131, i\u00e7inde 10.000 insan\u0131n ya\u015fayabilece\u011fi b\u00fcy\u00fck\u00adl\u00fckte yap\u0131lm\u0131\u015ft\u0131r. Barok saraylar\u0131n arka taraf\u0131nda k\u0131rlara do\u011fru uzanan tarhlar halinde, havuzlu, heykellerle s\u00fcsl\u00fc ve geometrik planl\u0131 bir bah\u00e7e yer almaktad\u0131r. Bah\u00e7enin i\u00e7inde kenarlar\u0131 hey\u00adkellerle s\u00fcsl\u00fc f\u0131skiyeli havuzlar da b\u00fcy\u00fck bir itina ile yap\u0131lm\u0131\u015ft\u0131r ve buralar\u0131 saray sosyetesinin gezinti yapt\u0131\u011f\u0131 yerlerdir.<\/p>\n

 <\/p>\n

Barok Mimarisi Saraylar\u0131<\/h3>\n

Barok saraylar\u0131n ayr\u0131ca tekne-tavanl\u0131 geni\u015f kabul salonlar\u0131, \u00fcst katlara \u00e7\u0131kan \u00e7ift y\u00f6nl\u00fc, geni\u015f merdivenleri vard\u0131r ve t\u00fcm g\u00f6rkemlilik, saray\u0131n mutlak simgesi olarak g\u00f6z \u00f6n\u00fcnde tutulmu\u015ftur. Yap\u0131 i\u00e7inde ve d\u0131\u015f\u0131nda plasterler, s\u00fctunlar ve g\u00f6mme s\u00fctunlar, renkli mermerlerden ger\u00e7ekle\u015ftirilmi\u015flerdir. Mermer olmad\u0131\u011f\u0131 zaman da stuk tekni\u011fi ile yap\u0131lm\u0131\u015f mermer taklidi \u00f6\u011feler yap\u0131da kulla\u00adn\u0131lm\u0131\u015ft\u0131r. Alt\u0131n yald\u0131z da israf edilircesine her yerde uygulanm\u0131\u015f\u00adt\u0131r.<\/p>\n

\"Versailles<\/a>

Versailles Palace Paris Fransa J.H. Mansard<\/p><\/div>\n

Barok Mimari Saray Versailles’in Plan\u0131<\/h3>\n

Versailles’in plan\u0131, Almanya topraklar\u0131ndaki k\u00fc\u00e7\u00fck eyalet devletlerinin saraylar\u0131 ile Avusturya’daki saray yap\u0131lar\u0131nda da benimsenmi\u015ftir, \u00f6rne\u011fin M\u00fcnih’te Nymphenburg. Stuttgart’ ta Ludvvigsburg, Berlin’de Potsdam, Karlsruhe, Hannover ve Dresden Saraylar\u0131 gibi. Ayr\u0131ca Viyana’da Sch\u00f6nbrunn ve Luca von Hildebrandt’\u0131n Prens Eugen (T\u00fcrkleri 2. Viyana ku\u015fatmas\u0131nda bozan) i\u00e7in in\u015fa etti\u011fi Belvedere Saray\u0131 da, gene Versailles \u00f6rnek al\u0131narak yap\u0131lm\u0131\u015ft\u0131r.<\/p>\n

\"Versay<\/a>

Versay Saray\u0131 Paris Fransa<\/p><\/div>\n

Ancak, \u00f6zellikle Avusturya ve G\u00fcney Almanya’daki saraylar\u00adda kitapl\u0131k i\u00e7in ayr\u0131lan mekan, temsil edici bir g\u00f6rkemliliktedir. Buras\u0131, sarayda oturan ki\u015finin esprili konu\u015fabilmesi, k\u00fclt\u00fcrl\u00fc g\u00f6\u00adr\u00fcnmesi i\u00e7in \u00f6nem ta\u015f\u0131maktad\u0131r. Saray\u0131n odalar\u0131 1700 y\u0131llar\u0131na do\u011fru di\u011fer i\u00e7 ve d\u0131\u015f temsil edici yerler gibi tamamen s\u00fcslenme\u00ad\u011fe ba\u015flam\u0131\u015ft\u0131r.<\/p>\n

Barok’un Son D\u00f6nemi Rokoko<\/h3>\n

Barok\u2019un son d\u00f6nemini i\u00e7eren Rokoko<\/a>‘da, duvarlar ve tavan\u00adlar “Rocaille” denen midye kabu\u011fu bi\u00e7iminden esinlenmi\u015f bir s\u00fcsleme \u00f6rgesi yan\u0131nda, kabartma olarak bi\u00e7imlenmi\u015f meyve\u00adler, \u00e7i\u00e7ekler ve salk\u0131mlarla s\u00fcsleniyordu. Ayr\u0131ca asimetrik bir du\u00advar d\u00fczeni de benimsenme\u011fe ba\u015flanm\u0131\u015ft\u0131. Duvarlara bol yaprakl\u0131 a\u011fa\u00e7lar aras\u0131ndan bakan hayvan resimleri yapmak da moda hali\u00adne gelmi\u015ftir. Rokoko<\/a> d\u00f6neminde yap\u0131lan k\u00fc\u00e7\u00fck kas\u0131rlara Eremitage Ya Da Sanssouci gibi adlar verilmi\u015f ve \u00e7ok sevilmi\u015f\u00adtir.<\/p>\n

Barokun son a\u015famas\u0131 olarak de\u011ferlendirilen Rokoko<\/a> ile Ro\u00adman sanat\u0131ndan bu yana olan \u00fcslupsal geli\u015fim, yani arkaik, klasik ve barok \u00fcslup a\u015famalar\u0131 biter ve b\u00f6ylece t\u00fcm monar\u015fik d\u00f6nemlerin tar\u0131m ekonomili sanatlar\u0131 son bulur. \u00c7\u00fcnk\u00fc 1789 Frans\u0131z \u0130htil\u00e2li yaln\u0131z Avrupa barok saray saltanat\u0131n\u0131 sona erdir\u00admez, ayn\u0131 zamanda parlamenter, end\u00fcstriyel ekonomili bir yeni \u00e7a\u011f\u0131 da ba\u015flat\u0131r. Hatta b\u00f6ylece mimari, resim ve heykel sanatla\u00adr\u0131na ait b\u00fcy\u00fck \u00fcsluplar d\u00f6nemi de son bulur.<\/p>\n","protected":false},"excerpt":{"rendered":"

Barok Mimarisi, Mimarl\u0131k Sanat\u0131 Barok Mimarisi, bu d\u00f6nemin devlet ve kilisesinin mut\u00adlak egemenli\u011fi yap\u0131larda, \u00f6zellikle saray ve kiliselerde g\u00f6r\u00fcld\u00fc. Saray\u0131n g\u00f6steri\u015fli b\u00fcy\u00fckl\u00fck duygusu, \u00f6zellikle saray yap\u0131s\u0131nda simgeleniyordu. Barok yap\u0131n\u0131n mimar\u0131, g\u00f6steri\u015fi, b\u00fcy\u00fckl\u00fc\u011f\u00fc, abart\u0131l\u0131 olan\u0131, bol s\u00fcs \u00f6\u011fesini, krall\u0131\u011f\u0131n egemenlik hususundaki e\u015fsizli\u011fini yans\u0131tacak \u00f6l\u00e7\u00fcde planl\u0131yordu. Kalabal\u0131k g\u00f6steriler ve e\u011flenceler i\u00e7in, b\u00fcy\u00fck, g\u00f6rkemli salonlar, kral\u0131n geni\u015f maiyeti […]<\/p>\n","protected":false},"author":1,"featured_media":6371,"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":[124],"tags":[],"class_list":["post-6337","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-tarihi"],"yoast_head":"\nBarok Mimarisi - Arthipo<\/title>\n<meta name=\"description\" content=\"Barok Mimarisi Barok'un Alman topra\u011f\u0131ndaki geli\u015fimi daha \u00e7ok Alpierin he\u00admen kuzeyindeki \u00fclkelerde oldu. 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