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Sanatta “Leda Ve Kuğu” Teması Ile Kolektif Bilinçdışı Ilişkisi Üzerine

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Sanatta “Leda Ve Kuğu” Teması Ile Kolektif Bilinçdışı Ilişkisi Üzerine Trakya Üniversitesi Sosyal Bilimler Dergisi 193 Haziran 2015 Cilt 17 Sayı 1 (193-206) SANATTA “LEDA VE KUĞU” TEMASI İLE KOLEKTİF BİLİNÇDIŞI İLİŞKİSİ ÜZERİNE ∗ Mustafa HAYKIR ÖZET Bu çalışmada Yunan Mitolojisinde yer alan “Leda ve Kuğu” teması, sanata yansımaları ve kolektif bilinçdışıyla ilişkileri incelenmektedir. Farklı zamanlarda çok sayıda sanatçının konuya gösterdiği ilginin psikolojik nedenleri sorgulanmaktadır. Mitoloji ve sanatta yer alan benzer imgelerin kişisel ve kolektif bilinçdışıyla ilişkisi olduğu ileri sürülmektedir. “Leda ve Kuğu” hikayesinde Leda ile kuğu, kolektif bilinçdışından türeyen birer metafor olarak, kadın-erkek ilişkilerine, insanlığın cinselliğe dair arzu, korku ve duyguların biçim değiştirerek estetik imgelere dönüşmüş biçimiyle sanatçıların ilgisini çekmiştir. Ayrıca temanın sanata konu olmasında metaforların zengin içeriği ile Leda ve kuğudan oluşan iki formun içe içe geçen kapalı kompozisyonunun biçimsel formunun da etken olduğu düşünülmektedir. Gerek kişisel psişenin, gerekse toplumun ortak bilinçdışından gelen tabu, korku veya fantezilerin, tıpkı rüyalarda biçim değiştirerek ifade bulması gibi, evrensel bilinçdışından gün yüzüne çıkmak için metaforlara dönüşerek kendine bir ifade yolu bulduğu belirlenmiştir. Bu nedenle, her sanatçı kendi farklı yaşantı deneyimlerinden, başka bir deyişle kişisel bilinçdışının müdahalesi dolayısıyla temayı farklı yorumlamışlardır. İnsanlığın kolektif bilinçdışında yer alan arketipler olarak Leda ve kuğu’nun durumu, genel olarak kadın erkek ilişkilerine dair cinsel göndermelere yönelik bir anlam taşırken, kişisel bilinçdışının etkisiyle, Leonardo da Vinci’de annelik rolü; Michelangelo’da fiziksel bir tutkuyla kendinden geçişi, mest olma durumunu; Leda tek başına ızdırap içinde can çekişmeyi; Boucher’de erotik çağrışımları ve kuğunun boynu ile fallik göndermeyi simgelediği belirlenmektedir. Anahtar Kelimeler: Sanat, leda ve kuğu, mitoloji, kolektif bilinçaltı (ortak bilinçdışı), arketip (ilk örnek), metafor. ON THE RELATIONSHIP BETWEEN THE “LEDA AND THE SWAN” THEME IN ART AND THE COLLECTIVE UNCONSCIOUS ABSTRACT In this study, Greek mythology originated theme the "Leda and the Swan", its' reflections on art and the relationship between thema and the collective unconscious is analyzed. The psychological reasons for the interest of a number of artist's in the subject in various times is questioned. It is argued that similar images in the mythology and art is associated with personal unconscious and collective unconscious. As a metaphor, derived from collective unconscious, Leda and swan in the story of "Leda and the Swan" has attracted attention of artists in the form of relationships between male and female, about sexual desire, fear and emotions of humanity that morphing in the ∗ Yrd. Doç. Dr., Trakya Üniversitesi, Güzel Sanatlar Fakültesi, Resim Bölümü, [email protected] 194 Trakya Üniversitesi Sosyal Bilimler Dergisi Haziran 2015 Cilt 17 Sayı 1 (193-206) way that transformed into aesthetic images. In addition, it is considered that it is the formal form of closed composition of nested two forms of Leda and the swan and substantial content of the metaphors is efficient. It is determined that taboos, fears or expressions which arising from both personal psyche and society's colective unconscious, in order to emerge on surface from the colective unconscious, it attains a way for expression converting into metaphors such as in dreams converting into another form in order to expressing. Therefore, each artist has different interpretations of the theme on account of their different experience or in other words, owing to intereference of personal unconscious. As archetypes that originated in the collective unconscious mind of humanity, the status of Leda and the swan, while implying sexual referring oriented in general that concerning the relationships between men and women, due to the impact of the personal unconscious, it is determined that it symbolizes maternity in Leonardo da Vinci's painting; symbolizes a status of being enchanted or ecstasy with a physical passion; Leda, single by herself, symbolizes moribundity in agony in Michelangelo's painting; and with the long necked swan, it symbolizes erotic connotations and phallic references in Boucher's paintings. Keywords: Art, Leda and the Swan, Mythology, Collective Unconscious, Archetypes, Metaphor. GİRİŞ Mitolojik bir tema olan “Leda ve Kuğu” hikâyesine çok sayıda sanatçının ilgi duymuş olması, hikâyenin ana motiflerinde insana dair önemli bazı olgular bulunduğuna işarettir. Mitolojide ortaya çıkan bu temanın, sanata konu olmasında, kökleri insanlığın ‘ortak bilinçdışına’ dayanan arketipler (ilksel imgeler) etkin bir rol oynamaktadır. “Leda ve Kuğu” hikâyesinde kadınsal korkular, cinsel arzular, annelik özlemi ve fanteziler gibi bastırılmış duygular, metaforlar veya semboller halinde dolaylı ifade kanallarına başvurdukları görülür. İnsanın yarattığı bir olgu olarak insana dair gerçeklikleri barındıran kültür, bütün alt unsurlarıyla birbiriyle bağlantılı bir bütünlük oluşturur. İnsan, doğayla ve diğer insanlarla ilişkileri sürecinde edindiği düşünsel ve duygusal yaşantıların bilince ve bilinçaltına yansıyan biçimlerini ve atalarından kalıtsal olarak taşıdığı birikimi, bilinç katmanlarında kaynaştırarak bir imgeler haznesi oluşturur. Bu bağlamda atalarından miras olarak devraldığı imgelerin günlük yaşamımıza yansımaları olduğu gibi, mitolojiye ve sanata da yansımaları olmaktadır. Jung’un “ilksel imgeler” (arketipler) dediği bu imgeler, “… insanlığın en eski ve en evrensel düşünce biçimleridir. Bunlar duygu oldukları kadar düşüncelerdir de…”1, “… özellikle insan varoluşunun nispeten kısa süresinden çok daha eskiye uzanan, insanoğlunun hayvan atalarından kalan işlev kalıntılarıdır da aynı zamanda.”2 1 Carl Gustav Jung, Analitik Psikoloji, Çev. Ender Gürol, 2. Basım, Payel Yayınları, İstanbul 2006, s. 145. 2 C.G. Jung, a.g.e., s.172. Trakya Üniversitesi Sosyal Bilimler Dergisi 195 Haziran 2015 Cilt 17 Sayı 1 (193-206) Benzer işlevler zaman zaman, bireysel yaşamın içinde tekerrür edince, arketipler sanatsal yollardan yansımalarını, sezgisel ve doğaçlama bir şekilde söz konusu metaforlarla gerçekleştirerek ifade yoluna kavuşur. MİTOLOJİDE “LEDA VE KUĞU” HİKÂYESİ Mitolojik kaynaklarda hikâyenin bütününü bir arada bulmak pek mümkün değildir. Konu, bazı yerlerde kısa değinmelerle geçilmiş, bazı yerlerde de farklı şekillerde anlatılmış olduğuna rastlanmaktadır. Cömert, Mitoloji ve İkonografi kitabında, Leda’nın, bir gölde yıkanırken, bembeyaz bir kuğuyu okşadığını; Zeus’un, Leda’ya kuğu kılığına girerek sahip olduğunu; bu birleşmeden kimilerine göre bir, kimilerine göre de iki yumurta meydana geldiğini; yumurtaların her birinden ikiz çocuk doğduğunu yazar. “Çocuklardan birinin babası olan Zeus, öteki ikisinin babası olarak da Tyndareos kabul edilir.”3 Erhat, hikâyeyi kısaca şöyle aktarır: “Leda’nın babası olduğu kabul edilen Thestios, Lakedaimon’dan kovulup Aitolia’ya sığınan Tyndareos’a kızını verir. Herakles’in yardımıyla Sparta tahtını gene ele geçiren Tyndareos, Leda ile birlikte oraya yerleşir. Efsaneye göre Zeus, Leda’ya aşık olmuş ve bir kuğu biçiminde ona yanaşmış. Leda da bir yumurta yumurtlamış, yumurtadan iki ikiz çocuk çıkmış: Zeus’un dölleri olan Helene ile Kastor ve Tyndareos’un çocukları olan Klytaimestra ile Polydeukes.”4 Konunun özünü anlamak açısından, hikâyedeki bazı önemli ayrıntılara değinmek gerekir. Hikâyenin biraz daha ayrıntılı hali şöyle geçmektedir: Aetolia’ın kralı Thestius ile Eurythemis’in kızı Leda, Lacedaemon’un kralı Tyndareus ile evlenir ve hikâyemizin gerçekleştiği zamanda çocuğuna hamile kalır. Bir gün Jupiter5, Leda’yı Eurotas nehrinde yıkanırken gözetler ve âşık olur. Düzenbaz Jüpiter, nehir kenarında savunmasız bir kuğu kılığına girerek, Venüs’ün, komplo kurmak amacıyla kılığına girdiği bir kartal tarafından kovalanır. Korkmuş gibi yapan kuğu, sığınacak bir koruyucu arayarak, yıkanan güzel Leda’nın kucağına sığınır. Leda, bu olaydan sonra Castor ve Pollux ile Helen ve Clytemnestra’nın içinden çıktığı iki yumurta doğurur.6 Kolektif Bilinçdışı ve Kişisel Bilinçdışının Mitolojiyle İlişkisi Mitolojik kökenli bir tema olan ‘Leda ve Kuğu’nun görsel sanatlara sıkça konu olmasında, temanın taşıdığı sembol ve metaforların, sanatçıların ortak bilinçdışında yer alan benzer imgelerle uyuşması ve sanatta ifade edilmesine elverişli olması önemli bir rol oynar. Tarihin ilk dönemlerinde ortaya çıkan ve sözlü folklor formlarından biri diye tanımladıkları mitoloji için Rosenthal ve Yudin, “…değişik tabiat ve toplum fenomenlerinin genellenmesi ve açıklanması çabası…” ifadesini kullanmaktadırlar. Marx’ın mitolojiyi ‘tabiatın 3 Bedrettin Cömert, Mitoloji ve İkonografi, Ayraç Yayınevi. Ankara 1999, s.26. 4 Azra Erhat, Mitoloji Sözlüğü, Remzi Kitabevi, İstanbul 2011, s.193-194. 5 Zeus, Roma’da Jupiter olarak geçer. 6 James David Draper, “For the Love of Leda” The Metropolitan Museum of Art Bulletin, New Series, Vol. 30, No. 2 (Oct. - Nov.,1971), pp. 50-58 http://www.jstor.org/discover/3258603?sid=21105653195813&uid=2&uid=4(19.01.2015) . 196 Trakya Üniversitesi Sosyal Bilimler Dergisi Haziran 2015 Cilt 17 Sayı 1 (193-206) ( toplum ve maddi olan her şey) bilinçsiz olarak, imgelemde toplanması, birbirine bağlanması ve artistik olarak yeniden yaratılması’ şeklinde tanımladığını yazarlar.7 Jung, bilinçdışında önceden biçimlenmiş olduğunu ileri sürdüğü psişik olguların, yaratıcı fantezi’lerde görünür hale geldiğini ve arketip kavramının uygulama alanını burada bulduğunu yazar. Buna göre, arketiplerin
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