![\"bug\u00fcn\u00fcn](\"https:\/\/www.arthipo.com\/artblog\/wp-content\/uploads\/2016\/12\/doga-resmi-e1481829738437.jpeg\")
<\/p>\nSanat e\u011fitimi, i\u00e7inde bulunulan \u00e7a\u011f\u0131n sanat\u0131 \u00fce ilgilenir. Bir \u00e7a\u011f\u0131n sanat\u0131, ba\u015fka \u00e7a\u011flarm sanat\u0131ndan farkl\u0131 \u00f6zelliklere sahip ise o \u00e7a\u011f\u0131n kendine \u00f6zg\u00fc sanat anlay\u0131\u015f\u0131m \u00f6\u011freten bir e\u011fitim sistemine de sahip olmas\u0131 gerekir.<\/p>\n
Sanat d\u00fcnyas\u0131n\u0131n bize sundu\u011fu yap\u0131tlar\u0131 incelersek, sanat anlay\u0131\u015flar\u0131n\u0131n her \u00e7a\u011fda de\u011fi\u015fti\u011fini a\u00e7\u0131k olarak g\u00f6r\u00fcr\u00fcz. Sanat anlay\u0131\u015flar\u0131 yaln\u0131z \u00e7a\u011fa g\u00f6re de\u011f\u00fc memleketlere, milletlere g\u00f6re de de\u011fi\u015fir. M\u0131s\u0131r, Hitit, Mezopotamya, Yunan, Roma, \u00c7\u0131n, T\u00fcrk sanatlar\u0131 birbirlerinden \u00e7ok farkl\u0131 \u00f6zellikler g\u00f6sterdi\u011fi gibi, her memleketin her \u00e7a\u011fdaki sanat\u0131 yeni bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fc i\u00e7indedir. Yaln\u0131z Fransa\u2019daki resim sanat\u0131, 1850 den sonra \u00e7ok de\u011fi\u015fik \u00e7ehreler g\u00f6stermi\u015ftir. Memleketimizde de durum aynidir. Yaln\u0131z Cumhuriyet devrimizde bile, mimar\u00ee olsun, resim sanat\u0131 olsun ayni g\u00f6r\u00fc\u015fte \u00e7ak\u0131l\u0131 kalmam\u0131\u015ft\u0131r.<\/p>\n
\u015eeker Ahmet Pa\u015fa \u00e7a\u011f\u0131nda, resim sanat\u0131 ba\u015fka g\u00f6r\u00fc\u015fte, \u00c7all\u0131 ve arkada\u015flar\u0131n\u0131n sanat\u0131 ise gene ba\u015fka g\u00f6r\u00fc\u015ftedir. \u00c7all\u0131 \u0130brahim\u2019in \u00f6\u011frencileri olan \u00abD\u00bb Grubu ressamlar\u0131n\u0131n sanat anlay\u0131\u015f\u0131, hocalar\u0131ndan ne kadar farkl\u0131d\u0131r. Kald\u0131 ki \u00c7all\u0131 bu ressamlar\u0131m\u0131z\u0131n ayni zamanda hocas\u0131 idi. \u00c7all\u0131\u2019n\u0131n resim e\u011fitimi ile, sonralar\u0131 akademi \u00f6\u011fretmeni olan \u00f6\u011frencilerinin e\u011fitim anlay\u0131\u015f\u0131 aras\u0131ndaki fark, ressamlar\u0131m\u0131zca \u00e7ok iyi bilinir.<\/p>\n
\u00c7all\u0131\u2019n\u0131n e\u011fitimi yanl\u0131\u015f anla\u015f\u0131lm\u0131\u015f bir empressiyonizm ile nat\u00fcralist bir g\u00f6r\u00fc\u015f\u00fc ama\u00e7 edinmi\u015fti. \u00d6\u011frencilerinin e\u011fitim anlay\u0131\u015f\u0131 ise. Post empresyonizm ve k\u00fcbist anlay\u0131\u015f\u0131n bir kar\u0131\u015f\u0131m\u0131d\u0131r. 1950 den sonra bat\u0131, ekol zihniyetini reddettikten sonra, ferdiyet\u00e7i bir laboratuvar ara\u015ft\u0131rmas\u0131na y\u00f6nelmi\u015f ve bunun sonunda saf resim unsurlar\u0131 ile yap\u0131lan sentezleri de\u011ferlendirme\u011fe ba\u015flam\u0131\u015ft\u0131. Bu g\u00f6r\u00fc\u015f, akademilerde benimsenince, modern form ara\u015ft\u0131rmalar\u0131 \u00e7al\u0131\u015fmalara yeni bir pencere a\u00e7m\u0131\u015ft\u0131r. \u00d6yleki bug\u00fcn, \u00e7ocukluk \u00e7a\u011f\u0131ndakiler hari\u00e7 bat\u0131 memleketlerinde yeni, tamamen tasavvuri soyut bir \u00e7al\u0131\u015fma, \u00e7a\u011f\u0131m\u0131z insan\u0131n\u0131n i\u00e7 d\u00fcnyas\u0131n\u0131n estetik belgeleri say\u0131lmaktad\u0131r.<\/p>\n
Sanat\u0131n bug\u00fcn s\u00fcratle enternasyonal bir sanat dili oldu\u011fu \u00fczerindeki g\u00f6r\u00fc\u015fler \u00e7a\u011f\u0131m\u0131z d\u00fcnya anlay\u0131\u015f\u0131n\u0131n \u00e7e\u015fitli vas\u0131talarla b\u00fct\u00fcn d\u00fcnyaya yay\u0131lmas\u0131ndan ve benimsenmesinden do\u011fmu\u015ftur. Bu g\u00f6r\u00fc\u015f AICA (Uluslararas\u0131 Sanat Kritik\u00e7ileri) VIII kongresinde de payla\u015f\u0131lm\u0131\u015f bir g\u00f6r\u00fc\u015ft\u00fcr. Buna ra\u011fmen bu yeni uluslar aras\u0131 dil memleketlere g\u00f6re mahall\u00ee bir \u00f6zellik g\u00f6stermektedir. G\u00f6r\u00fcl\u00fcyor ki, g\u00fcn\u00fcm\u00fcz sanat\u0131n\u0131n, kendine \u00f6zg\u00fc g\u00f6r\u00fc\u015f\u00fcne uygun bir e\u011fitime sahip olmas\u0131 gerekmektedir. Bu e\u011fitim anlay\u0131\u015f\u0131 vard\u0131r ve gittik\u00e7e yay\u0131lmaktad\u0131r.<\/p>\n
Sanat e\u011fitimine de\u011finirken, \u00e7ok kimselerin \u00fczerinde \u00f6nemle durduklar\u0131 ba\u015fka bir noktay\u0131 da a\u00e7\u0131klamak gerekir. Bug\u00fcn\u00fcn soyut resmini yapacak sanat\u00e7\u0131n\u0131n muhakkak eski \u00e7a\u011flarda oldu\u011fu gibi do\u011fadan, fig\u00fcratif olarak \u00e7al\u0131\u015fmas\u0131 gerekli midir?<\/p>\n
Eski \u00e7a\u011flar sanat\u00e7\u0131lar\u0131n\u0131n daima tabiat kar\u015f\u0131s\u0131nda \u00e7al\u0131\u015fm\u0131\u015f olduklar\u0131n\u0131 d\u00fc\u015f\u00fcnmek yanl\u0131\u015f olur. Tarihte \u00f6yle \u00e7a\u011flar vard\u0131r ki, belli form\u00fcller i\u00e7inde \u00e7al\u0131\u015f\u0131lm\u0131\u015ft\u0131r . \u00d6yle \u00e7a\u011flar da olmu\u015ftur ki, do\u011fadan \u00e7al\u0131\u015fmak bizzat krallar taraf\u0131ndan emredilmi\u015ftir. Bir \u00e7a\u011f\u0131n zevki, o devrin \u00e7al\u0131\u015fma zevkini de g\u00f6stermektedir.<\/p>\n
<\/p>\n
Daha \u00e7ok yak\u0131n\u00a0bir zamanda expressionistlerin g\u00f6zlerini do\u011fadan ‘ tamamen uzakla\u015ft\u0131rd\u0131klar\u0131 bir ger\u00e7ektir. G\u00fcn\u00fcm\u00fcz sanat\u00e7\u0131lar\u0131n\u0131n art\u0131k tabiat kar\u015f\u0131s\u0131nda \u00e7al\u0131\u015ft\u0131klar\u0131n\u0131 g\u00f6ren var m\u0131d\u0131r? Bug\u00fcn pl\u00e2stik sanatlardaki renklerin do\u011fada oldu\u011funu iddia etmek kimin elindedir. Bu soyut d\u00fcnya yolunun do\u011fadan ge\u00e7ti\u011fini iddia etmek her zaman i\u00e7in m\u00fcmk\u00fcn olamaz. Ama a\u015f\u0131r\u0131 bir g\u00f6r\u00fc\u015fle do\u011fadan hi\u00e7 faydalan\u0131lamaz demek de do\u011fru olmaz.<\/p>\n
Sanat bir anlay\u0131\u015ft\u0131r. Tasavvuri bir anlay\u0131\u015ft\u0131r. Bu anlay\u0131\u015f\u0131n do\u011fa ile hi\u00e7bir \u015fekilde ilgisi yoktur. Bug\u00fcn e\u011fer tabiattan bir \u00e7al\u0131\u015fma yap\u0131l\u0131yorsa bu, tabiattan bir sanat eseri \u00e7\u0131karmak i\u00e7in \u00a0de\u011fildir. Bu bir intibak kabiliyeti kazanmak i\u00e7in bir \u00e7al\u0131\u015fmad\u0131r. Yani tamamen teknik bir husustur. Bir nevi \u00a0yaza tekni\u011fini \u00f6\u011frenmek gibi bir \u015feydir. Herhangi bir \u015feyden, bir sanat\u00e7\u0131 tasavvuru \u00e7\u0131karmak; i\u015fte problem \u00a0burada yatar. Bu g\u00f6r\u00fc\u015f\u00fcn yaln\u0131z tabiattan \u00e7\u0131kt\u0131\u011f\u0131n\u0131 iddia etmek, sanat tasavvurunun hi\u00e7bir kaba s\u0131\u011fmad\u0131\u011f\u0131n\u0131 bilmemek oldu\u011fu gibi, sanat tarihinin, k\u0131sacas\u0131 bir\u00e7ok \u00fclkelerin bize sundu\u011fu de\u011fi\u015fik yap\u0131tlar\u0131 anlamamak \u00a0olur. \u0130\u015fte bu de\u011fi\u015fik sanat yap\u0131tlar\u0131n\u0131n de\u011fi\u015fik bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fcnden do\u011fduklar\u0131n\u0131, bunlar\u0131n ortaya \u00e7\u0131kmalar\u0131 \u00a0i\u00e7in o devir d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fc dile getiren sanat\u0131n nas\u0131l\u00a0\u00f6\u011fretilece\u011fini g\u00f6steren e\u011fitim sistemleri vard\u0131r.<\/p>\n
\u015eunu da bilmek gerekir: Sanatta do\u011fay\u0131 g\u00f6zlem vard\u0131r. G\u00f6zlem de sanat\u00e7\u0131ya izlenim sa\u011flar. Fakat sanat\u00e7\u0131 i\u00e7in \u00f6nemli olan do\u011fan\u0131n desen haline getirilmi\u015f izlenim \u015feklidir. Ve sanat\u00e7\u0131ya heyecan veren de kendi taraf\u0131ndan olan idrak \u015feklidir. Bu izlenim, bug\u00fcn soyut bir tasavvura ait olmaktad\u0131r. Yani sanat\u00e7\u0131 i\u00e7 do\u011fas\u0131n\u0131n bir izlenimini tesbit ve kompoze etmektedir. E\u011fitim de, bu i\u00e7 do\u011fay\u0131 g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131karacak yolu ama\u00e7 edinmektedir.<\/p>\n","protected":false},"excerpt":{"rendered":"
BUG\u00dcN\u00dcN SANAT E\u011e\u0130T\u0130M\u0130 \u00dcZER\u0130NE Sanat e\u011fitimi, i\u00e7inde bulunulan \u00e7a\u011f\u0131n sanat\u0131 \u00fce ilgilenir. Bir \u00e7a\u011f\u0131n sanat\u0131, ba\u015fka \u00e7a\u011flarm sanat\u0131ndan farkl\u0131 \u00f6zelliklere sahip ise o \u00e7a\u011f\u0131n kendine \u00f6zg\u00fc sanat anlay\u0131\u015f\u0131m \u00f6\u011freten bir e\u011fitim sistemine de sahip olmas\u0131 gerekir. Sanat d\u00fcnyas\u0131n\u0131n bize sundu\u011fu yap\u0131tlar\u0131 incelersek, sanat anlay\u0131\u015flar\u0131n\u0131n her \u00e7a\u011fda de\u011fi\u015fti\u011fini a\u00e7\u0131k olarak g\u00f6r\u00fcr\u00fcz. Sanat anlay\u0131\u015flar\u0131 yaln\u0131z \u00e7a\u011fa g\u00f6re […]<\/p>\n","protected":false},"author":1,"featured_media":8275,"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":[266],"tags":[],"class_list":["post-8265","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-felsefesi"],"yoast_head":"\n