PİŞMİŞ TOPRAK FİGÜRİNLER VE ANITSAL HEYKELLER: BAĞIMSIZ MI TAKİPÇİ Mİ?
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Tarih
2019
Yazarlar
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Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Antikçağ insanının kendini gerçeğe en yakın şekilde ifade edebildiği alan plastik sanattır. Söz konusu alanda mermer heykeller ve pişmiş toprak figürinler özel bir öneme sahiptir. Kilden üretilmiş olan figürinler, Ege coğrafyasında en erken üç boyutlu insan betimleri olarak karşımıza çıkar. MÖ VII. yüzyılın ortalarıyla birlikte bilim ve sanattaki bilginin ve estetik anlayışın gelişimine paralel olarak, heykeltıraşlar kireçtaşı ve mermeri gerçek boyutlarda insan figürleri oluşturmak için kullanmışlardır. Bu dönemden antikçağın sonuna dek anıtsal heykeltıraşlık eserleri, dinsel ve sosyal açıdan en güçlü ve zengin betimlemelerden biri olmuştur. Pişmiş toprak figürinler de büyük mermer eserler ile aynı kronolojiyi paylaşır. Buna karşın iki sanat dalı arasında işlevsel, anlamsal ve sınıfsal farklar bulunmaktadır. İşlevsel ve teknik açıdan aradaki büyük farklılıklara rağmen tipolojik ortaklıklar iki alan arasındaki etkileşimi ortaya koyar. Bu etkileşimin özelliklerini net bir şekilde anlamak için heykel ve pişmiş toprak figürin tiplerinin gelişimleri dönemsel olarak irdelenmelidir. Tarihsel süreçte, pişmiş toprak figürin ve heykel sanatı arasında stile öncülük etme noktasında bir rol değişimi olduğu görülmektedir. Belli dönemlerde anıtsal heykellerin izlerini taşıyan koroplastik eserler kimi zaman heykel sanatının gündemini de belirlemiştir. Böylece pişmiş toprak figürinler tip, ikonografi ve işlev açısından kendi dinamiklerine sahip eserler olarak antikçağ insanını ve onun yaşamını anlamada önemli bir role sahip olmuştur.
Since the very early period, one of the field of art which human being could be depicted in a reallike manner have been the plastic art. In this field, stone sculptures and terracotta figurines have a special importance. In the region of ancient Aegean, the earliest human representations among three dimensional ones, had been the figurines made from clay. Within the middle of the VIIth century BC, in parallel with the progress of the knowledge in art and the sense of aesthetics, sculptors started to use the marble and the limestone in order to create live-size human figures. From then on, till to the end of ancient times, monumental sculptures were one of the most strong images in terms of religion and social life. Terracotta figurines share the same chronology with monumental sculptures. However, there have been some diffrences between two field of art in terms of their functions and meanings. In spite of the technical and funtional differences, tipological characteristics reveal the interraciton between these two fields. For understanding the characteristics of this interaction clearly, it is esential to examine the periodical progress of the terracotta figurines and monumental sculptures. It seems that there used to be a change of role between figurines and statues concerning to lead to the style. While terracotta figurines have the effects of specific monumental statues in certain periods, they also define the order of the sculpture in some periods. Consequently, as terracottas had their own dynamics in terms of type, iconography and function, they had a very important role for understanding the ancient people and their lives.
Since the very early period, one of the field of art which human being could be depicted in a reallike manner have been the plastic art. In this field, stone sculptures and terracotta figurines have a special importance. In the region of ancient Aegean, the earliest human representations among three dimensional ones, had been the figurines made from clay. Within the middle of the VIIth century BC, in parallel with the progress of the knowledge in art and the sense of aesthetics, sculptors started to use the marble and the limestone in order to create live-size human figures. From then on, till to the end of ancient times, monumental sculptures were one of the most strong images in terms of religion and social life. Terracotta figurines share the same chronology with monumental sculptures. However, there have been some diffrences between two field of art in terms of their functions and meanings. In spite of the technical and funtional differences, tipological characteristics reveal the interraciton between these two fields. For understanding the characteristics of this interaction clearly, it is esential to examine the periodical progress of the terracotta figurines and monumental sculptures. It seems that there used to be a change of role between figurines and statues concerning to lead to the style. While terracotta figurines have the effects of specific monumental statues in certain periods, they also define the order of the sculpture in some periods. Consequently, as terracottas had their own dynamics in terms of type, iconography and function, they had a very important role for understanding the ancient people and their lives.
Açıklama
Anahtar Kelimeler
Arkeoloji, Sanat
Kaynak
Cedrus: Akdeniz Uygarlıkları Araştırma Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
7
Sayı
0
