Resimde\u00a0\u00fc\u00e7l\u00fc Anna Grubu\u2019nda g\u00f6rece\u011fimiz \u00fc\u00e7gen \u015femas\u0131 uygulanm\u0131\u015ft\u0131r. Kompozisyona sembolik bir anlam kazand\u0131rmas\u0131 bak\u0131m\u0131ndan ellerin pek de ba\u015far\u0131l\u0131 oldu\u011fu s\u00f6ylenemez. Hatta Meryem\u2019in kar\u015f\u0131dan g\u00f6r\u00fclen eliyle \u0130sa\u2019n\u0131n ba\u015f\u0131 aras\u0131ndaki bo\u015flu\u011fa Yahya\u2019y\u0131 g\u00f6steren melek elinin konulmas\u0131 da bo\u015flu\u011fu doldurmu\u015f olmaktan ba\u015fka bir \u00f6nem ta\u015f\u0131maz. Ressam mele\u011fin y\u00fcz\u00fcn\u00fc bize do\u011fru \u00e7evirtmi\u015f olmakla, bazen denildi\u011fi gibi, resimle bizim aram\u0131zda bir ili\u015fki kurmaktan \u00e7ok, onun y\u00fcz g\u00fczelli\u011fini g\u00f6stermek istemi\u015ftir. Ama buna kar\u015f\u0131l\u0131k, Meryem\u2019in Yahya\u2019ya do\u011fru gerilen mantosu, Yahya\u2019n\u0131n \u0130sa\u2019ya do\u011fru gerili\u015fini daha da belirginle\u015ftiriyor. Ayr\u0131ca bu durum sa\u011fdaki melekle \u0130sa\u2019n\u0131n fig\u00fcrlerini daha sak\u0131n g\u00f6steriyor. Yahya ile \u0130sa aras\u0131ndaki b\u00f6lge, yeralt\u0131 sular\u0131ndaki akislerin o yakalanmaz, u\u00e7ucu \u015fiirini hat\u0131rlatan derin mavimt\u0131rak ve ye\u015fil \u0131\u015f\u0131klarla kayna\u015fmaktad\u0131r.<\/p>\n
![\"Ma\u011faradaki](\"https:\/\/www.arthipo.com\/artblog\/wp-content\/uploads\/2016\/12\/magaradaki-meryem-leonardo-da-vinci-unlu-tablosu.jpg\")
Ma\u011faradaki Meryem, Leonardo da Vinci \u00dcnl\u00fc Tablosu<\/p><\/div>\n
Leoanrdo da Vinci’nin \u00dcnl\u00fc Tablosu Ma\u011faradaki Meryem Resminde Uygulad\u0131\u011f\u0131 Teknikler<\/h3>\n
Leonardo da Vinci \u00fcnl\u00fc tablosu, Plastik bir senfoni olan eserin en titre\u015fik b\u00f6l\u00fcm\u00fcd\u00fcr. Ama Leonardo\u2019nun bu eserde g\u00f6sterdi\u011fi as\u0131l ba\u015far\u0131 ne \u015femas\u0131nda, ne de kompozisyonundad\u0131r. Sadece bunlar\u0131n, i\u00e7inde eridi\u011fi manzara ve havadad\u0131r. Daha \u00f6nceki ressamlar\u0131n eserlerinde manzara yok de\u011fildi. Ama fig\u00fcrler manzaradan ayr\u0131 durumda idiler. Oysa Leonardo fig\u00fcrlerini manzara i\u00e7ine alarak fig\u00fcr- manzara birli\u011fini sa\u011flam\u0131\u015f, manzaray\u0131 ki\u015filerinin ruh hallerine \u0131\u015f\u0131k tutan canl\u0131 bir varl\u0131k gibi ele alm\u0131\u015ft\u0131r. Leonardo\u2019nun her \u015feyi ayd\u0131n – g\u00f6lge i\u00e7inde g\u00f6stermesi bundand\u0131r.<\/p>\n
Masacio, bir Piero della Francesca veya bir Botticelli de ayd\u0131nl\u0131k – g\u00f6lgeye \u00f6nem vermi\u015flerdi. Ama bunlar\u0131n eserlerinde a\u00e7\u0131k tonlar, fig\u00fcrlerin plastik sa\u011flaml\u0131\u011f\u0131n\u0131 belirterek \u00fcst\u00fcn geldikleri halde, burada Leonardo aksine karanl\u0131k b\u00f6lgeleri \u00e7o\u011faltmakta, bu da v\u00fccutlara, \u00f6zellikle kenar \u00e7izgilerine bir yumu\u015fakl\u0131k kazand\u0131rmaktad\u0131r. B\u00fct\u00fcn fig\u00fcrler titre\u015fen bir hava i\u00e7inde erimi\u015f gibidir. Bu bak\u0131mdan denilebilir ki tablonun kahraman\u0131 bu ayd\u0131nl\u0131k-g\u00f6lgeleme kendisidir. Fig\u00fcrlerin belirgin kenar \u00e7izgileri yerine burada \u0131\u015f\u0131klara ve g\u00f6lgelere a\u00e7\u0131lm\u0131\u015f bi\u00e7imler vard\u0131r. Leonardo\u2019nun ba\u015f kayg\u0131s\u0131 \u0131\u015f\u0131k-g\u00f6lge\u2018nin sfumato’su idi. 10<\/p>\n
Onun, anatomiyi her ressamdan daha iyi bildi\u011fi halde, bi\u00e7imlerde yap\u0131 sa\u011flaml\u0131\u011f\u0131na \u00f6nem vermemesi bundand\u0131r.<\/p>\n
Leonardo da Vinci \u00fcnl\u00fc tablosu Ma\u011faradaki Meryem’de Leonardo\u2019nun kulland\u0131\u011f\u0131 renkler ocre ile \u00e7ok de\u011fi\u015fik ve ay\u0131rt\u0131l\u0131, s\u0131cak ve so\u011fuk renklerle \u00e7e\u015fitlendirilmi\u015f olan ye\u015fildir.<\/p>\n
Louvre m\u00fczesinde bulunan, \u00fczerinde durdu\u011fumuz bu tablonun, Leonardo\u2019nun at\u00f6lyesinden \u00e7\u0131km\u0131\u015f biraz daha k\u00fc\u00e7\u00fck \u00f6l\u00e7\u00fcde bir \u00f6rne\u011fi vard\u0131r ki bug\u00fcn Londra\u2019da National Gallery\u2019de bulunmaktad\u0131r. Louvre\u2019dakinden daha sonra yap\u0131lm\u0131\u015f olan bu eserde, mele\u011fin Meryem ile \u0130sa aras\u0131na giren havadaki eli, ortadan kalkm\u0131\u015ft\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"
Ma\u011faradaki Meryem Leonardo da Vinci \u00dcnl\u00fc Tablosu Ma\u011faradaki Meryem\u00a0 Louvre m\u00fczesinin bu \u00fcnl\u00fc eseri Milano\u2019daki San Francesco kilisesi i\u00e7in haz\u0131rlanm\u0131\u015ft\u0131r. Meryem, kayalar\u0131 aras\u0131ndan \u0131\u015f\u0131k s\u0131zan esrarl\u0131 bir ma\u011faran\u0131n i\u00e7inde diz \u00e7\u00f6km\u00fc\u015f olarak kompozisyonun ortas\u0131nda g\u00f6r\u00fcl\u00fcyor. K\u00fc\u00e7\u00fck Yahya\u2019y\u0131, kutsamas\u0131 i\u00e7in, K\u00fc\u00e7\u00fck \u0130sa\u2019ya do\u011fru sa\u011f eliyle yava\u015f\u00e7a itiyor. Bize g\u00f6re sa\u011fda bulunan bir melek, parma\u011f\u0131 ile \u0130sa\u2019n\u0131n […]<\/p>\n","protected":false},"author":1,"featured_media":8509,"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":[155],"class_list":["post-7675","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-unlu-klasik-tablolar","tag-leonardo-da-vinci"],"yoast_head":"\n