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Soyut Dişavurumcu Sanatta Ruhsal Arayişlar Ve Uzakdoğu Öğretilerinin Etkisi

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Soyut Dişavurumcu Sanatta Ruhsal Arayişlar Ve Uzakdoğu Öğretilerinin Etkisi T.C. SAKARYA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ SOYUT DIŞAVURUMCU SANATTA RUHSAL ARAYIŞLAR VE UZAKDOĞU ÖĞRETİLERİNİN ETKİSİ YÜKSEK LİSANS TEZİ Halil SEPETCİ Enstitü Ana Sanat Dalı : Resim Tez Danışmanı: Prof. Füsun ÇAĞLAYAN MAYIS 2019 ÖNSÖZ Yüksek lisans tez sürecinde engin sanat deneyimleri, duyarlı bakış açısı ve akademik bilgisiyle kendisinden çok şeyler öğrendiğim Sayın Prof. Füsun ÇAĞLAYAN’a minnet ve şükranlarımı sunarım. Tüm yaşamımda yanımda olan ve her zaman yardım ve desteklerini benden esirgemeyen sevgili annem Satiye SEPETCİ’ye ve babam Satılmış SEPETCİ’ye akademik hayatımda da beni yalnız bırakmadıkları için gönülden teşekkür ederim. Ayrıca, insana, hayata, düşüncelere ve duygulara yaklaşım biçimiyle eşsiz paylaşımlarda bulunan ve sanatla olan ilgimin kapılarını açan sanatsever dostum ve ağabeyim Sayın Mustafa TEKİNALP’e saygılarımı arz ederim. Halil SEPETCİ 29 Mayıs 2019 İÇİNDEKİLER KISALTMALAR ........................................................................................................... iv RESİMLER DİZİNİ ....................................................................................................... v ÖZET ............................................................................................................................... ix SUMMARY ..................................................................................................................... x GİRİŞ ............................................................................................................................... 1 BÖLÜM 1: SOYUT DIŞAVURUMCU SANATTA RIHSAL AÇILIMLAR 1.1. 20. Yüzyıl Modern Batı Toplumunda Sanatçının Değişen Kimliği ......................... 12 1.2. Savaş Yıllarının Soyut Dışavurumcu İfadeye Etkisi ................................................ 15 1.2.1. Modern Toplum ve Birey Arasındaki Psikolojik Çatışma: Toplumsal ve Bireysel Yaşantıda Huzursuzluk Duygusu ............................................................. 18 1.2.2. Modern Bireyde Yabancılaşma ve Nesnelleşme Sorunu............................... 22 1.3. “Benlik” Gerçekliğinin Keşfi ................................................................................... 25 1.4. Psikanaliz Yöntem:Bilinçaltı Dünyası ve Sanatta İçgüdüsellik ............................... 30 1.5. Soyut Dışavurumcu Sanatta Varoluşçu Etki: Trajik Duygular ve Kaos .................. 34 1.5.1. Varoluşçu Düşüncede Absürd (Saçma) Kavramı .......................................... 35 1.5.2. Soyut Dışavurumcu Sanatta Trajik Duygu Eğilimleri ................................... 37 BÖLÜM 2:ESTETİK DENEYİM VE MİTLERE DÖNÜŞ 2.1. Soyut Dışavurumcu Sanatta Estetik Deneyim ......................................................... 53 2.1.1. Resim Yapma Eylemi ve Otomatizm ............................................................ 53 2.2. Mitolojik Metaforlar................................................................................................. 74 2.2.1. Soyut Dışavurumcu İfadede Primitivizm ve Totem Kültü ............................ 79 2.3. Soyut Dışavurumcu Sanatta Yüce Kavramı ............................................................. 98 i BÖLÜM 3: SOYUT DIŞAVURUMCU SANAT ANLAYIŞINDA ZEN SANAT UYGULAMALARI 3.1. Soyut Dışavurumcu Sanatın Uzak Doğu Kültürüne Açılımı ................................. 105 3.1.1. New York Okulu ve Zen Budizm Felsefesine Eğilimler ............................. 107 3.1.2. Paris Okulu ve Zen (Chan) Eğilimler ......................................................... 117 3.1.3. Alman Soyut Dışavurumcu Sanat ve “Zen Grubu” ..................................... 126 3.2. Uzak Doğu Kaligrafi Sanatı ................................................................................... 128 3.2.1. Çin Kaligrafi Sanatı ..................................................................................... 129 3.2.2. Japon Kaligrafi Sanatı (Shodo) .................................................................... 131 3.2.3. Uzak Doğu Kaligrafi Sanatında Çizgi ve Leke Kullanımı .......................... 135 BÖLÜM 4: ZEN FELSEFESİ VE SOYUT DIŞAVURUMCU SANAT İLİŞKİSİ 4.1. Geleneksel Uzak Doğu Öğreti ve Düşünce Disiplinleri ........................................ 143 4.1.1. Budizm ......................................................................................................... 143 4.1.2. Tao Felsefesi ................................................................................................ 148 4.1.3. Zen (Chan) Öğretileri .................................................................................. 155 4.2. Zen (Chan) Öğretileri Bağlamında Soyut Dışavurumcu Yapıtların Yorumu ........ 158 4.2.1. Boşluk Kavramı ........................................................................................... 158 4.2.2. Yin Yang (Zıtlıklar İlkesi) .......................................................................... 165 4.2.3. Te (Erdem ve Esenlik) Kavramı .................................................................. 169 4.2.4. Li (Zihin ve Tabiat İlişkisi- İçsellik ve Temel İlke) .................................... 173 4.2.5. I Ching (Değişimler ve Eylemlerin Kökeni) ............................................. 175 4.2.6. Wu-Wei (Eylemsizlik ve Kendiliğindenlik) ................................................ 180 BÖLÜM 5: ARAŞTIRMA KONUSU BAĞLAMINDA KİŞİSEL UYGULAMA ÇALIŞMALARINDA SOYUT DIŞAVURUMCU ETKİLER 5.1. Resim Çalışmaları Hakkında Öğrenci Beyanı ve Uygulama Örnekleri ............. 183 ii SONUÇ ......................................................................................................................... 190 KAYNAKÇA ............................................................................................................... 193 ÖZGEÇMİŞ ................................................................................................................. 198 iii KISALTMALAR T.Ü.A.B :Tuval Üzerine Akrilik Boya T.Ü.K.T :Tuval Üzerine Karışık Teknik K.Ü.M :Kağıt Üzerine Mürekkep K.Ü.S :Kağıt Üzerine Suluboya T.Ü.Y.B :Tuval Üzerine Yağlı Boya Yay :Yayın iv RESİMLER DİZİNİ Resim 1: R. Motherwell “İspanya için Ağıtlar” 175 x 289 , T.Ü.Y.B. 1961 ............. 39 Resim 2: Jean Fautrier “Rehine Başı” 45 x 55 K.Ü.Y.B. 1944 ................................. 40 Resim 3: Wols, “Her Şeyin Bitti” 81 cm x 81 cm T.Ü.Y.B. 1946. ............................... 41 Resim 4: Wols, “İsimsiz” Fotoğraf, 1947 ...................................................................... 42 Resim 5: Clyfford Still “İsimsiz” 109 cm x 135 cm, T.Ü.Y.B. 1946........................... 44 Resim 6: B.Newman “Hac Durakları Birinci Durak” 153 x 197, T.Ü.A.B. 1958. ....... 45 Resim 7: Barnett Newman, “İbrahim” 210 x 87, T.Ü.Y.B. 1949. ................................ 46 Resim 8: Mark Rothko “Defnetme” 56 x 76, K.Ü.S.B.1946. ...................................... 49 Resim 9: J. Pollock “Mavi Çubuklar” 212 x 488, T.Ü.Y.B. 1952. ............................. 51 Resim 10: W. De Kooning “Kadın ve Bisiklet ” 124 x 94, T.Ü.Y.B. 1952. ............... 52 Resim 11: Mark Rothko, “Turkuaz” 70 cm x 101 cm, T.Ü.Y.B. 1955. ........................ 59 Resim 12: Hans Namuth, “Pollock Resim Yaparken” Fotoğraf , 1950 ....................... 60 Resim 13: J. Pollock, “Son Bahar Ritmi” 105 x 207, T.Ü.K.T. 1950. ........................... 62 Resim 14: Hans Hartung, “İsimsiz” 65 cm x 105 cm, T.Ü.A.B. 1963. .......................... 63 Resim 15: Joan Mitchell “Ay Çiçekleri” 199 x 285, T.Ü.A.B. 1969. ........................... 64 Resim 16: Joan Mitchell “İsimsiz”, 102 x 191, ” T.Ü.Y.B. 1969. ................................ 66 Resim 17: Helen Frankenthaler,” Dağlar ve Deniz” 220 x 300 T.Ü.Y.B. 1962. ....... 67 Resim 18: Lee Krasner “Mevsimler” 235 cm x 517 cm, T.Ü.Y.B. 1957..................... 68 Resim 19: Mary Abbot, İsimsiz, 76 cm x 101 cm, T.Ü.Y.B. 1953. ............................. 70 Resim 20: Georges Mathieu, “Her yerde Kapetyalılar” 300 x 600 , T.Ü.Y.T. 1954. ... 71 Resim 21: Sam Francis, “İç Aydınlanma” 135 x 202 T.Ü.Y.B. 1958......................... 72 Resim 22: Pierre Soulages, “İsimsiz” 131 cm x 162 cm , T.Ü.Y.B. 1956. ................. 73 Resim 23: Moma Arşivi, “Kum resmi yapan Novajo yerlileri” 1941. ......................... 80 Resim 24: J. Pollock, “Dişi Kurt” 106 cm x 10 cm, T.Ü.Y.B. 1943. .......................... 82 Resim 25: Jackson Pollock “Totem Dersi” 152 cm x 182 cm, 1948. ............................ 83 v Resim 26: Clyfforrd Still, “İsimsiz” 121 cm x 153 cm, T.Ü.Y.B. 1952 ....................... 84 Resim 27: Totem, Amerika, 1943 ................................................................................. 86 Resim 28: Barnet Newman, Here, Bronz Heykel, 1962................................................. 86 Resim 29: M.Tobey, “Davul, Şaman ve Tanrı Sözü” 35 x 48, T.Ü.Y.B. 1944. ........... 87 Resim 30: Mark Rothko, “Antik İmge” T.Ü.Y.B. 86 cm X 116 cm, 1941 ................... 88 Resim 31: Mark Rothko, Kartal Alameti, 45 cm x 65 cm, 1942. ................................... 89 Resim 32: Bradley Walker, “Ruhlar Gecesi” 108 x 162, T.Ü.Y.B. 1947 ...................... 91 Resim 33: Petroglif (Kaya Resim), Yaklaşık M.Ö. 3000 Utah, Amerika ..................... 92 Resim 34: Kelt Kültürüne ait Taş Yazıt Heykel, Fransa. ............................................... 93 Resim 35: Emil Schumacher, “İşkenceye Karşı Sanatçı” 56 x 75, K.Ü.G.B, 1993 ..... 94 Resim 36: Antonia Tapies, “Dönüşüm” 96 cm x 145 cm, T.Ü.K.T. 1955. .................. 95 Resim 37: E.de Koning, İsimsiz, 56 x 70, Litografi, 1984. ..........................................
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