{"id":13451,"date":"2023-09-05T14:40:28","date_gmt":"2023-09-05T11:40:28","guid":{"rendered":"http:\/\/blog.ulubat.org\/?p=13451"},"modified":"2023-09-05T14:40:35","modified_gmt":"2023-09-05T11:40:35","slug":"hastalik-ve-sanat","status":"publish","type":"post","link":"https:\/\/blog.ulubat.org\/index.php\/genel\/hastalik-ve-sanat\/","title":{"rendered":"HASTALIK VE SANAT"},"content":{"rendered":"\n

Inventas vitam iuvat excoluisse per artes.<\/p>Vergelius<\/cite><\/blockquote>\n\n\n\n

En karamsar d\u00fc\u015f\u00fcn\u00fcrler aras\u0131nda say\u0131lan Arthur Schopenhauer ” G\u00fczelden al\u0131nan estetik zevk ger\u00e7ekten de -b\u00fcy\u00fck \u00f6l\u00e7\u00fcde- saf d\u00fc\u015f\u00fcnme durumuna girdi\u011fimizde; bir an i\u00e7in t\u00fcm isteklerin, t\u00fcm arzular\u0131n ve t\u00fcm kayg\u0131lar\u0131n \u00fczerine \u00e7\u0131kmam\u0131z<\/strong> durumudur. Tabiri caizse kendimizden kurtulmakt\u0131r. “<\/strong> diyerek estetik anlay\u0131\u015f\u0131 hakk\u0131nda fikir verir. Bunun yan\u0131 s\u0131ra basit\u00e7e s\u00f6ylemek gerekirse hayata tutunmak i\u00e7in bilim ve sanat\u0131n \u00f6nemini vurgular. Yukar\u0131da al\u0131nt\u0131 yapt\u0131\u011f\u0131m, Nobel madalyas\u0131n\u0131n arka k\u0131sm\u0131nda da yer alan Vergelius’a ait s\u00f6z ise ” Hayat\u0131 sanat ve bilim ile g\u00fczelle\u015ftirelim. ” <\/strong>ya da ” Bilim ile geli\u015fen hayat sanat ile g\u00fczelle\u015fir. “<\/strong> \u015feklinde farkl\u0131 \u00e7evirilere sahip olsa da bizi tek bir ana fikre ula\u015ft\u0131r\u0131yor.<\/p>\n\n\n\n

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Hastal\u0131klar hem d\u00f6nemsel-\u00e7evresel bir esinlenim mekanizmas\u0131 olarak hem de sanat\u00e7\u0131lar\u0131n bizzat sahip olduklar\u0131 hastal\u0131klar dolay\u0131s\u0131yla do\u011frudan sanat\u00e7\u0131 \u00fczerinde dolayl\u0131 olarak da sanat eseri \u00fczerinde geni\u015f etkilere sahip olmu\u015ftur. Daha da geni\u015fletecek olursak t\u0131p bile\u015fenleri sanat i\u00e7in her zaman \u00f6nemli bir ham madde olmu\u015ftur. Bu yaz\u0131m\u0131zda hastal\u0131k-sanat-sanat\u00e7\u0131 \u00fc\u00e7genini birka\u00e7 \u00f6rnekle inceleyece\u011fiz.<\/p>\n\n\n\n

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Dr. Nicolaes Tulp’un Anatomi Dersi – Rembrandt<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/4\/4d\/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg<\/figcaption><\/figure><\/div>\n\n\n

RES\u0130M SANATINDA HASTALIK ETK\u0130LER\u0130<\/h2>\n\n\n\n

Empresyonizm’in (\u0130zlenimcilik) babas\u0131 olarak kabul edilen Claude Monet<\/strong> her ne kadar akl\u0131m\u0131za adeta cennetin bir k\u00f6\u015fesi gibi g\u00f6z\u00fcken bah\u00e7esi ve \u00e7i\u00e7eklerini resmetmesiyle gelse de kendisi de bir ressam olan hayat arkada\u015f\u0131 Camille Doncieux kendisinin bir\u00e7ok eserine konu olmu\u015ftur. \u0130zlenimcilik<\/a> kabaca sanat\u00e7\u0131n\u0131n ham maddesi olan unsurlar\u0131n sanat\u00e7\u0131ya hissettirdi\u011fi ve sanat\u00e7\u0131da uyand\u0131rd\u0131\u011f\u0131 her \u015feyin bir sentezini eser haline getirmeye dayan\u0131r. \u00d6rne\u011fin izlenimci bir \u015fekilde resmedilmi\u015f bir manzaran\u0131n asl\u0131nda kendisini de\u011fil sanat\u00e7\u0131n\u0131n g\u00f6z\u00fcnden ve ruhundan nas\u0131l g\u00f6z\u00fckt\u00fc\u011f\u00fcn\u00fc g\u00f6r\u00fcr\u00fcz. Camille Doncieux’a derin bir sevgi besleyen Monet kendisini genellikle \u00e7ok g\u00fczel ve \u015f\u0131k k\u0131yafetler i\u00e7inde, \u00e7ok g\u00fczel mekanlarda resmetmi\u015ftir.<\/p>\n\n\n

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\u015eemsiyeli Kad\u0131n – Claude Monet<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/9\/9a\/Claude_Monet_011.jpg<\/figcaption><\/figure><\/div>\n\n\n

Ancak Camille baz\u0131 kaynaklarda pelvik kanser baz\u0131 kaynaklarda ise t\u00fcberk\u00fcloz nedeniyle gen\u00e7 ya\u015fta a\u011f\u0131r bir hastal\u0131\u011fa yenik d\u00fc\u015fm\u00fc\u015ft\u00fcr. 32 ya\u015f\u0131nda hayat\u0131n\u0131 kaybeden Camille’i kocas\u0131 Monet, \u00f6l\u00fcm d\u00f6\u015fe\u011findeyken de resmetmi\u015ftir. Camille’in resmedildi\u011fi bu eser di\u011ferlerinden son derece farkl\u0131d\u0131r.<\/p>\n\n\n

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Camille Monet \u00d6l\u00fcm D\u00f6\u015fe\u011finde – Claude Monet<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/c\/ce\/Claude_Monet_-_Camille_Monet_sur_son_lit_de_mort.JPG<\/figcaption><\/figure><\/div>\n\n\n

Bu eserden kar\u0131s\u0131n\u0131n hastal\u0131\u011f\u0131n\u0131n Monet i\u00e7in ne hissettirdi\u011fi hakk\u0131nda fikir edinebiliyoruz.<\/p>\n\n\n\n

Bunun yan\u0131 s\u0131ra Monet 1912 y\u0131l\u0131ndan itibaren katarakt problemiyle y\u00fczle\u015fmeye ba\u015flam\u0131\u015ft\u0131r. Eserlerinde renk ve \u0131\u015f\u0131k kullan\u0131m\u0131 belirgin d\u00fczeyde de\u011fi\u015fmi\u015ftir. Ayn\u0131 eseri farkl\u0131 d\u00f6nemlerde birka\u00e7 kez yapma ve seri haline getirme al\u0131\u015fkanl\u0131\u011f\u0131 olan Monet’nin eserlerinde bu de\u011fi\u015fimi keskin bir \u015fekilde fark etmek m\u00fcmk\u00fcnd\u00fcr. 1899 y\u0131l\u0131nda yapm\u0131\u015f oldu\u011fu Japon K\u00f6pr\u00fcs\u00fc<\/em><\/strong> adl\u0131 eserinde \u00e7ok sevdi\u011fi nil\u00fcferler, g\u00f6let, ye\u015fil bitkiler, k\u00f6pr\u00fc ve \u0131\u015f\u0131k gayet ferah bir havayla a\u00e7\u0131k se\u00e7ik bi\u00e7imde resmedilmi\u015ftir.<\/p>\n\n\n

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Japon K\u00f6pr\u00fcs\u00fc<\/em> – Claude Monet <\/em> (1899)
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/f\/f3\/Japanese_Footbridge-Claude_Monet.jpg<\/figcaption><\/figure><\/div>\n\n\n

Buna kar\u015f\u0131n 1922’de yapt\u0131\u011f\u0131 ayn\u0131 adl\u0131 eserinde her \u015fey bulan\u0131kt\u0131r ve nesneleri se\u00e7mek gayet zordur. Netlik \u00f6nemli \u00f6l\u00e7\u00fcde yitirilmi\u015ftir ve renkler canl\u0131l\u0131\u011f\u0131n\u0131 kaybedip birbirine kar\u0131\u015fmaya ba\u015flam\u0131\u015ft\u0131r. I\u015f\u0131k azalm\u0131\u015f ve daha karamsar bir hava ortaya \u00e7\u0131karm\u0131\u015ft\u0131r. G\u00f6let ve nil\u00fcferler neredeyse fark edilememektedir.<\/p>\n\n\n

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Japon K\u00f6pr\u00fcs\u00fc – Claude Monet<\/em> (1922)
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/4\/45\/Claude_Monet_-The_Japanese_Footbridge<\/em>%28Museum_of_Fine_Arts%2C_Houston%29.jpg<\/figcaption><\/figure><\/div>\n\n\n

Barok ak\u0131m\u0131n\u0131n \u00f6nemli temsilcilerinden \u0130talyan ressam Caravaggio Hasta Bacchus<\/em><\/strong> adl\u0131 eserinde Roma mitolojisinde \u015farap tanr\u0131s\u0131 olarak bilinen Bacchus’u hasta bir bi\u00e7imde resmetmi\u015ftir. Ancak Bacchus olarak resmetti\u011fi ki\u015fi bizzat kendisinin aynadaki yans\u0131mas\u0131d\u0131r. Eseri yapt\u0131\u011f\u0131 d\u00f6nemde hasta oldu\u011fu ve bir s\u00fcre hastanede yatt\u0131\u011f\u0131 bilinen Caravaggio asl\u0131nda otoportre \u00e7al\u0131\u015fmas\u0131n\u0131 Bacchus’un bedeni \u00fczerinden yapmay\u0131 tercih etmi\u015ftir.<\/p>\n\n\n

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Hasta Bacchus – Caravaggio<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/8\/85\/Young_Sick_Bacchus-Caravaggio_%281593%29.jpg<\/figcaption><\/figure><\/div>\n\n\n

Ekspresyonizm’in (D\u0131\u015favurumculuk) \u00f6nemli temsilcilerinden Edvard Munch<\/strong> hastal\u0131k temas\u0131n\u0131 \u00e7ok\u00e7a i\u015fleyen ressamlardan biridir. Hasta \u00c7ocuk<\/em><\/strong> adl\u0131 eserinde ilerlemi\u015f t\u00fcberk\u00fcloz hastal\u0131\u011f\u0131na ba\u011fl\u0131 olarak umutsuzca yatakta yatan bir k\u0131z \u00e7ocu\u011fu ve yan\u0131nda kederli bir \u015fekilde elini tutan, k\u0131z\u0131n teyzesi oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen siyah giyinmi\u015f bir kad\u0131n\u0131 resmeder.<\/p>\n\n\n

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Hasta \u00c7ocuk – Edvard Munch<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/c\/c2\/Munch_Det_Syke_Barn_1885-86.jpg<\/figcaption><\/figure><\/div>\n\n\n

Benzer \u015fekilde Hasta Odas\u0131nda \u00d6l\u00fcm <\/em><\/strong>adl\u0131 eserinde de kasvetli bir hasta odas\u0131nda ya\u015fanan \u00f6l\u00fcm\u00fc ve siyahlar i\u00e7indeki hasta yak\u0131nlar\u0131n\u0131n kederini i\u015flemi\u015ftir.<\/p>\n\n\n

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Hasta Odas\u0131nda \u00d6l\u00fcm – Edvard Munch<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/0\/08\/Edvard_Munch_-Death_in_the_Sickroom<\/em>-_Google_Art_Project.jpg<\/figcaption><\/figure><\/div>\n\n\n

Munch ve ailesi hastal\u0131klardan bizzat etkilendikleri i\u00e7in hastal\u0131klar ve \u00f6l\u00fcmler eserlerinde \u00f6nemli yer tutmu\u015ftur. K\u0131z karde\u015fi Laura’n\u0131n erken \u00f6l\u00fcm\u00fcn\u00fc ve kendisine getirdi\u011fi y\u0131k\u0131m\u0131 ise K\u00fcller <\/em><\/strong>adl\u0131 eserinde i\u015flemi\u015ftir.<\/p>\n\n\n

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K\u00fcller – Edvard Munch<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/a\/af\/Edvard_Munch_-Ashes<\/em>%281895%29.jpg<\/figcaption><\/figure><\/div>\n\n\n

Kendisi de \u0130spanyol gribi ile y\u00fczle\u015fen Norve\u00e7li ressam \u0130spanyol Gribi ile Otoportre<\/em><\/strong> adl\u0131 eserinde kendisini hasta ve bitkin bir \u015fekilde resmetmi\u015ftir.<\/p>\n\n\n

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\u0130spanyol Gribi ile Otoportre – Edvard Munch<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/0\/09\/Edvard_Munch_-Self-Portrait_with_the_Spanish_Flu<\/em>%281919%29.jpg<\/figcaption><\/figure><\/div>\n\n\n

Sir Luke Fildes’\u0131n The Doctor<\/em><\/strong> adl\u0131 eserinde hasta yata\u011f\u0131nda yatan bitkin bir \u00e7ocuk ve onu dikkatle g\u00f6zlemleyen bir doktoru g\u00f6r\u00fcr\u00fcz. Gayet kasvetli bir havaya sahip olan bu eserde \u00e7ocu\u011fun babas\u0131 da endi\u015feli bir \u015fekilde beklemektedir. Resmin k\u00f6keni ve ne anlatmak istedi\u011fiyle ilgili bir\u00e7ok fikir vard\u0131r. Bunlar\u0131n aras\u0131nda en kabul g\u00f6ren sanat\u00e7\u0131n\u0131n ilk \u00e7ocu\u011fu olan Philip’i hen\u00fcz 1 ya\u015f\u0131ndayken tifodan kaybetmesinin h\u00fczn\u00fcn\u00fc bu eserde anlatmas\u0131d\u0131r. Ayr\u0131ca d\u00f6nemin t\u0131p anlay\u0131\u015f\u0131 ve doktor rol\u00fc ile ilgili de \u00f6nemli fikirler edinmemizi sa\u011flar.<\/p>\n\n\n

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Sir Luke Fildes – The Doctor<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/8\/84\/The_Doctor_Luke_Fildes_crop.jpg<\/figcaption><\/figure><\/div>\n\n\n

K\u0131sa ve bir o kadar sansasyonel hayat\u0131 boyunca bir\u00e7ok \u00f6nemli esere imza atan ve her ne kadar \u00f6l\u00fcm\u00fcnden sonra da olsa sanat d\u00fcnyas\u0131n\u0131 k\u00f6klerinden etkileyen Vincent Van Gogh da eserlerinde psikolojik rahats\u0131zl\u0131k \u00f6gelerini s\u0131kl\u0131kla kullanm\u0131\u015ft\u0131r. Kimileri sanat anlay\u0131\u015f\u0131 gittik\u00e7e de\u011fi\u015fen Van Gogh’un bu de\u011fi\u015fimine sebep olarak ge\u00e7irdi\u011fi psikoz durumlar\u0131n\u0131, bedensel rahats\u0131zl\u0131klar\u0131n\u0131 ve kulland\u0131\u011f\u0131 ila\u00e7lar\u0131 g\u00f6sterir. Van Gogh’un pop\u00fcler k\u00fclt\u00fcre fazlas\u0131yla malzeme olmu\u015f ve en ilgi \u00e7eken olay\u0131 kula\u011f\u0131n\u0131 kesmesidir. Arkada\u015f\u0131 Paul Gauguin’i hararetli bir tart\u0131\u015fmalar\u0131nda elindeki ustura ile kovalamaya ba\u015flayan Van Gogh arkada\u015f\u0131n\u0131 yakalayamay\u0131nca ge\u00e7irdi\u011fi cinnet halinde kula\u011f\u0131n\u0131n bir k\u0131sm\u0131n\u0131 keser. Kulaklar\u0131 Sarg\u0131l\u0131 Otoportre<\/em><\/strong> eserinde kula\u011f\u0131n\u0131 kestikten birka\u00e7 g\u00fcn sonraki halini resmeder. Resme ilk bak\u0131\u015fta sa\u011f kula\u011f\u0131n\u0131 kesti\u011fini sansak da Van Gogh otoportrelerinde ayna kulland\u0131\u011f\u0131 i\u00e7in sol kula\u011f\u0131n\u0131 kesti\u011fini anl\u0131yoruz. Bir g\u00f6r\u00fc\u015fe g\u00f6re Van Gogh bu eseri kula\u011f\u0131n\u0131 kestikten sonra ak\u0131l hastanesine kapat\u0131lmamak i\u00e7in akli dengesinin yerinde oldu\u011funu kan\u0131tlamak amac\u0131yla \u00e7ok k\u0131sa bir s\u00fcrede yapm\u0131\u015ft\u0131r.<\/p>\n\n\n

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Kulaklar\u0131 Sarg\u0131l\u0131 Otoportre<\/em> – Vincent Van Gogh<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/commons\/6\/62\/Vincent_van_Gogh_-Self-portrait_with_bandaged_ear<\/em>%281889%2C_Courtauld_Institute%29.jpg<\/figcaption><\/figure><\/div>\n\n\n

Hayat\u0131 boyunca bir\u00e7ok sanat ak\u0131m\u0131na temas eden ve sanat\u0131n bir\u00e7ok dal\u0131nda eserler \u00fcretmi\u015f olan Pablo Picasso arkada\u015f\u0131 Carlos Casamegas ile Paris’e ta\u015f\u0131n\u0131p \u015f\u00f6hret aray\u0131\u015f\u0131na girdi\u011fi y\u0131llarda arkada\u015f\u0131 Casamegas ba\u015far\u0131s\u0131z bir romantik ili\u015fki nedeniyle intihar eder. Arkada\u015f\u0131n\u0131 fazlas\u0131yla seven Picasso ise bunal\u0131ma girer ve kendini hayattan soyutlar. Ayn\u0131 d\u00f6nemde paras\u0131z olan Picasso dilencileri, sokak \u00e7alg\u0131c\u0131lar\u0131n\u0131, evsizleri ve toplumdan d\u0131\u015flanm\u0131\u015f tabiri caizse yeralt\u0131nda ya\u015fayan kesimleri yak\u0131ndan tan\u0131m\u0131\u015f oldu. Bu da Picasso’nun Mavi D\u00f6nemi ad\u0131 verilen bir d\u00f6nemin ba\u015flamas\u0131na neden oldu. Ya\u015fl\u0131 Gitarist<\/em><\/strong> adl\u0131 eseri de bu d\u00f6nemin sonlar\u0131na do\u011fru yapt\u0131\u011f\u0131 eserlerinden biridir. Ya\u015fl\u0131 ve hasta bir sokak \u00e7alg\u0131c\u0131s\u0131n\u0131 resmeden Picasso bu eserinde hem bedensel hem de ruhsal rahats\u0131zl\u0131klar\u0131 anlatmaktad\u0131r.<\/p>\n\n\n

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Ya\u015fl\u0131 Gitarist – Pablo Picasso<\/em>
https:\/\/upload.wikimedia.org\/wikipedia\/en\/thumb\/b\/bc\/Old_guitarist_chicago.jpg\/1365px-Old_guitarist_chicago.jpg<\/figcaption><\/figure><\/div>\n\n\n

KAYNAK\u00c7A:<\/h2>\n\n\n\n

Hajar R. Monet and Cataracts. Heart Views. 2016 Jan-Mar;17(1):40-1. doi: 10.4103\/1995-705x.182650. PMID: 27293531; PMCID: PMC4879806.<\/p>\n\n\n\n

https:\/\/tr.wikipedia.org\/wiki\/Hasta_Bacchus<\/a><\/p>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/The_Sick_Child_(Munch)<\/a><\/p>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/Edvard_Munch<\/a><\/p>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/The_Doctor_%28painting%29<\/a><\/p>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/The_Old_Guitarist<\/a><\/p>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/Claude_Monet<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Inventas vitam iuvat excoluisse per artes. Vergelius En karamsar d\u00fc\u015f\u00fcn\u00fcrler aras\u0131nda say\u0131lan Arthur Schopenhauer ” G\u00fczelden al\u0131nan estetik zevk ger\u00e7ekten<\/p>\n","protected":false},"author":1139,"featured_media":13904,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1,2139],"tags":[73,2437,2436,1731,1481,2158,265,616,2438,66,544],"acf":[],"views":218,"_links":{"self":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/13451"}],"collection":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/users\/1139"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/comments?post=13451"}],"version-history":[{"count":12,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/13451\/revisions"}],"predecessor-version":[{"id":14087,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/13451\/revisions\/14087"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/media\/13904"}],"wp:attachment":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/media?parent=13451"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/categories?post=13451"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/tags?post=13451"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}