{"id":4006,"date":"2019-11-09T18:00:46","date_gmt":"2019-11-09T15:00:46","guid":{"rendered":"http:\/\/blog.ulubat.org\/?p=4006"},"modified":"2019-11-09T01:46:39","modified_gmt":"2019-11-08T22:46:39","slug":"farkli-bir-zihin-van-gogh","status":"publish","type":"post","link":"https:\/\/blog.ulubat.org\/index.php\/genel\/farkli-bir-zihin-van-gogh\/","title":{"rendered":"Farkl\u0131 Bir Zihin: Van Gogh"},"content":{"rendered":"\n

Van Gogh, 30 Mart 1853’te Hollanda’da d\u00fcnyaya gelen melankolik, yeri gelince karamsar fazlas\u0131yla duygusal, \u00e7ok farkl\u0131 alg\u0131ya ve \u00f6zg\u00fcr bir hayal g\u00fcc\u00fcne sahip bir ressamd\u0131. \u00d6yle ki kendinden \u00f6nceki d\u00f6nemlerin fazlas\u0131yla kat\u0131 resim kurallar\u0131n\u0131 bir hamlede y\u0131km\u0131\u015f, ekspresyonistlere \u00f6nc\u00fc olmu\u015ftur. Sanatta konunun \u00f6nemli olmad\u0131\u011f\u0131n\u0131, herhangi bir konunun sanatla ifade edilebildi\u011fini kan\u0131tlam\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Bamba\u015fka bir bak\u0131\u015f a\u00e7\u0131s\u0131na sahip olan bu ressam\u0131n g\u00f6z al\u0131c\u0131 resimlerinin olu\u015fma s\u00fcreci san\u0131ld\u0131\u011f\u0131 kadar kolay de\u011fildir. 10 y\u0131lda 2000 civar\u0131 \u00e7izimi olmas\u0131na ra\u011fmen hayat\u0131 s\u00fcresince sadece 1 tablo satabilmi\u015ftir. Fakir ve hastad\u0131r, karde\u015fi Theo’nun destekleriyle ge\u00e7inmektedir. Hayat\u0131 sefalet ve ac\u0131 doludur. Hatta \u00e7ocuklu\u011funu da “kasvetli, so\u011fuk ve k\u0131s\u0131r” olarak tarif etmi\u015ftir. Bunda, 12 ya\u015f\u0131nda kom\u015fu kasaban\u0131n okulundan her \u015feyi \u00e7ok yava\u015f kavrad\u0131\u011f\u0131 gerek\u00e7esiyle uzakla\u015ft\u0131r\u0131lmas\u0131n\u0131n ve sonras\u0131nda kendini \u00e7ok yaln\u0131z ve savunmas\u0131z hissedece\u011fi yat\u0131l\u0131 okulun pay\u0131 b\u00fcy\u00fckt\u00fcr. <\/p>\n\n\n\n

16 ya\u015f\u0131nda babas\u0131n\u0131n da deste\u011fiyle resim galerilerinde resim sat\u0131\u015f memuru olarak \u00e7al\u0131\u015fmaya ba\u015flad\u0131. \u0130\u00e7indeki resim tutkusu da i\u00e7inde tomurcuklanmaya ba\u015flayacakt\u0131. Londra’da \u00e7al\u0131\u015ft\u0131\u011f\u0131 zamanlarda hayat\u0131n\u0131n olabilecek en g\u00fczel g\u00fcnlerini ya\u015fad\u0131. A\u015f\u0131k oldu\u011fu kad\u0131n\u0131n evlenme teklifini reddetmesi \u00fczerine ilk ciddi hayal k\u0131r\u0131kl\u0131\u011f\u0131 onu \u00e7ok etkiledi. Londra’da kalmaya daha fazla dayanamad\u0131 ve ayn\u0131 galerinin Paris \u015fubesine ge\u00e7ti. B\u00fcy\u00fck bir duygusal bunal\u0131m ya\u015f\u0131yordu ve ac\u0131s\u0131n\u0131 \u00e7izerek bast\u0131rmaya, i\u00e7inde co\u015fan hislerini boyalarla ifade etmeye \u00e7al\u0131\u015f\u0131yordu.<\/p>\n\n\n\n

S\u0131k s\u0131k \u00fclke de\u011fi\u015ftiriyordu ve neredeyse her birinde farkl\u0131 bir i\u015fle u\u011fra\u015f\u0131yordu. Dil \u00f6\u011fretti, kitap satt\u0131 ve Bel\u00e7ika’daki Borinage madenlerinde papazl\u0131k yapt\u0131. Durumu olduk\u00e7a k\u00f6t\u00fc olmas\u0131na ra\u011fmen t\u00fcm g\u00fcc\u00fcyle madencilere yard\u0131m etmek i\u00e7in kendini par\u00e7al\u0131yor ve t\u00fcrl\u00fc zorluklara g\u00f6\u011f\u00fcs geriyordu. Tan\u0131k oldu\u011fu \u015feyler onu fazlas\u0131yla etkilemi\u015f ve hayat alg\u0131lay\u0131\u015f\u0131nda k\u00f6kl\u00fc de\u011fi\u015fikliklere sebep olmu\u015ftu. Sonras\u0131nda Theo’nun deste\u011fiyle Br\u00fcksel’e ta\u015f\u0131nd\u0131 ve burada resim at\u00f6lyelerinde e\u011fitim almaya ba\u015flad\u0131. Olduk\u00e7a yetenekli ve istekliydi. Hayat\u0131 d\u00fczene girmi\u015f gibiydi. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Kuzenine a\u015f\u0131k oldu. Onunla evlenmek istese de tekrar reddedildi. \u0130kinci bir hayal k\u0131r\u0131kl\u0131\u011f\u0131n\u0131n ard\u0131ndan a\u015fka olan inanc\u0131n\u0131 yitirmi\u015fti. Fahi\u015felerle g\u00f6r\u00fc\u015fmeye ve onlarla ya\u015famaya ba\u015flad\u0131. Theo bu ya\u015fam tarz\u0131n\u0131 \u00e7ok desteklemedi ve Paris’e ta\u015f\u0131nmas\u0131nda \u00f6nayak oldu. Van Gogh, Toulouse \u2013 Lautrec, Gauguin ve daha pek \u00e7ok \u00fcnl\u00fc ressamla tan\u0131\u015fma f\u0131rsat\u0131 buldu.<\/p>\n\n\n\n

Gaugin ile olduk\u00e7a samimiydi ve onunla(ve benzer d\u00fc\u015f\u00fcnen di\u011fer ressamlarla) “G\u00fcney St\u00fcdyosu” ad\u0131n\u0131 verdi\u011fi bir topluluk olu\u015fturmak istedi. \u0130lk ba\u015fta Gaugin’le ileti\u015fimleri ve \u00e7al\u0131\u015fmalar\u0131 g\u00fczel giderken aralar\u0131ndaki \u00f6nemsiz gibi g\u00f6r\u00fcnen anla\u015fmazl\u0131klar g\u00fcn ge\u00e7tik\u00e7e daha rahats\u0131z edici bir hale gelmeye ba\u015flad\u0131. <\/p>\n\n\n\n

Malum olay 1888’de Noel gecesinde meydana geldi. Gaugin’le ciddi bir tart\u0131\u015fma ya\u015fayan Van Gogh, iddialara g\u00f6re usturayla Gaugin’i usturayla kovalad\u0131 ve h\u0131rs\u0131n\u0131 alamay\u0131p kendi sa\u011f kulak memesini kesti. Kendisine ait bu par\u00e7ay\u0131 civarlardaki bir genelevde tan\u0131d\u0131\u011f\u0131 fahi\u015feye teslim etti. \u00c7e\u015fitli tarih\u00e7ilerin inceledikleri polis kay\u0131tlar\u0131na g\u00f6re asl\u0131nda Gaugin’in kulak memesini k\u0131l\u0131\u00e7la kesti\u011fine dair teoriler olmakla birlikte M\u00e9ni\u00e8re hastal\u0131\u011f\u0131ndan kaynakl\u0131 kulak \u00e7\u0131nlamas\u0131n\u0131 yat\u0131\u015ft\u0131rmak i\u00e7in kendi kula\u011f\u0131n\u0131 kesti\u011fi de s\u00f6ylenmektedir. M\u00e9ni\u00e8re hastal\u0131\u011f\u0131<\/strong> i\u00e7 kulakta a\u015f\u0131r\u0131 bas\u0131n\u00e7 nedeniyle ortaya \u00e7\u0131kan bir hastal\u0131kt\u0131r. Hastal\u0131k, i\u00e7 kulakta bulunan denge organ\u0131n\u0131n etkilenmesi sonucu ortaya \u00e7\u0131kar.\u00a0 <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Tedavi s\u0131ras\u0131nda g\u00f6rd\u00fc\u011f\u00fc hal\u00fcsinasyonlar bir \u015feylerin habercisiydi. Peki bu \u015feyler neydi? Arles’taki Felix Ray ve di\u011fer doktorlar epilepsi tan\u0131s\u0131 koymu\u015flard\u0131. Epilepsi<\/strong> n\u00f6beti (yada krizi), beyin normal aktivitesinin, sinir h\u00fccrelerinde ge\u00e7ici olarak meydana gelen anormal elektriksel aktivite sonucu bozulmas\u0131 ile olu\u015fan klinik bir durumdur. Sonra kendi iste\u011fiyle gitti\u011fi ak\u0131l hastanesinde a\u015f\u0131r\u0131 heyecanl\u0131, insanlar\u0131 anl\u0131k olarak tan\u0131yan, ger\u00e7ek bir deliryumdan muzdarip, i\u015fitsel hal\u00fcsinasyonlar g\u00f6ren bir tablo olarak a\u00e7\u0131kland\u0131. Epileptik ataklar\u0131 ve semptomlar\u0131 daha detayl\u0131 incelendi\u011finde en olas\u0131 tan\u0131n\u0131n sikloid psikoz oldu\u011fu g\u00f6r\u00fcl\u00fcr. Psikoz<\/strong> kavram\u0131, g\u00fcn\u00fcm\u00fczde en belirgin belirtileri hal\u00fcsinasyon olan farkl\u0131 ruhsal hastal\u0131klar i\u00e7in bir \u00fcst kavram olarak kullan\u0131l\u0131yor. Sikloid psikoz<\/strong> herhangi bir sebebi olmaks\u0131z\u0131n ortaya \u00e7\u0131kan, kendi kendine s\u0131n\u0131rlanan ve tekrarlay\u0131c\u0131 psikotik bir tablodur. <\/p>\n\n\n\n

Van Gogh vakas\u0131nda ki\u015filik bozuklu\u011fu ard\u0131ndan tekrarlayan psikotik n\u00f6betlerin g\u00f6r\u00fclmesi prefrontal ve limbik b\u00f6lgelerdeki a\u011flar\u0131n fonksiyonel bozuklu\u011funa ba\u011fl\u0131 geli\u015fmi\u015f olabilir. Bu olay da Gastaut- Geschwind<\/strong> sendromuyla a\u00e7\u0131klan\u0131yor. Beynin temporal b\u00f6lgesinde \u00e7e\u015fitli n\u00f6ronlar\u0131 aktifle\u015ftiren ve genelde epileptik n\u00f6betlerle ortaya \u00e7\u0131kan inhibit\u00f6r kontrol kayb\u0131d\u0131r. Bu kay\u0131p daha h\u0131zl\u0131 ve daha iyi bili\u015fsel becerilerin ortaya \u00e7\u0131kmas\u0131n\u0131 sa\u011flayabilir. Semptomlar\u0131n g\u00f6r\u00fclmesi; genetik ve \u00e7evresel fakt\u00f6rlerin(duygusal stres, alkol, fiziksel yorgunluk vb.) etkile\u015fimleriyle ortaya \u00e7\u0131km\u0131\u015f olabilir. <\/p>\n\n\n\n

St. Remy’deyken yazd\u0131\u011f\u0131 mektuplar\u0131n birinde “Kar\u015f\u0131mdaki ki\u015fileri g\u00f6r\u00fcp tan\u0131sam bile, bazen bana \u00e7ok uzaktan gelmi\u015fler gibi geliyor ve ger\u00e7ekte olduklar\u0131ndan \u00e7ok farkl\u0131 g\u00f6r\u00fcn\u00fcyorlar.” ifadesiyle ya\u015fad\u0131\u011f\u0131 durumu \u00f6zetlemi\u015f. Prosopagnozi<\/strong>(insan y\u00fczleri tan\u0131yamama, ay\u0131ramama durumudur) ve mekansal agnozi<\/strong>(\u00f6zel bir duyu ya da haf\u0131za kayb\u0131n\u0131n olmad\u0131\u011f\u0131 durumlarda nesneleri, ki\u015fileri, sesleri, \u015fekilleri, kokular\u0131 tan\u0131ma yetene\u011finin kayb\u0131d\u0131r. K\u0131saca duyusal bilgiyi i\u015fleme yetersizli\u011fidir) bu durumu a\u00e7\u0131klayabilecek olas\u0131 tan\u0131lar olabilir.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Van Gogh, piyano sesi ve Prusya mavisi aras\u0131nda \u00e7ok yak\u0131n bir ba\u011flant\u0131 oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyordu ve bu y\u00fczden piyano dersleri ald\u0131. Renk ve ses aras\u0131nda kurdu\u011fu bu ba\u011flant\u0131 Gastaut- Geschwind sendromuna ba\u011fl\u0131 hipergrafi<\/strong>(a\u015f\u0131r\u0131 ve tekrarlayan bir \u015fekilde, detayl\u0131 yaz\u0131 yazmad\u0131r. Bu a\u015f\u0131r\u0131l\u0131k ka\u011f\u0131t bulunamad\u0131\u011f\u0131nda, mobilyalara, duvarlara, oradan da v\u00fccuda yazmaya; kalem bulunamad\u0131\u011f\u0131nda ki\u015finin kendi kan\u0131yla yazmas\u0131na kadar gidebilir.) ve hiperreligiosity<\/strong>(yo\u011fun dini duygu ve felsefi ilgi)e ba\u011fl\u0131 olmu\u015f olabilir. Van Gogh’un 1884’ten sonra 6 y\u0131l boyunca her g\u00fcn ya\u011fl\u0131 boya yapmas\u0131 hipergrafinin bir \u00e7e\u015fidi gibi g\u00f6r\u00fcn\u00fcyor. <\/p>\n\n\n\n

Van Gogh’un \u00f6zellikle son d\u00f6nem eserlerinde g\u00f6ze \u00e7arpan yayg\u0131n sar\u0131 renk kullan\u0131m\u0131 da bolca t\u00fcketti\u011fi absintte bulunan tuyon etken maddesinin zaman i\u00e7inde onun g\u00f6r\u00fc\u015f\u00fcn\u00fc bozarak nesneleri sar\u0131 ve tonlar\u0131nda g\u00f6rmesiyle ba\u011flant\u0131l\u0131 olarak ortaya \u00e7\u0131km\u0131\u015f olabilir. Buna klinikte kronik absint zehirlenmesi <\/strong>denir. Ayn\u0131 \u015fekilde tedavi i\u00e7in kulland\u0131\u011f\u0131 y\u00fcksek dozda y\u00fcks\u00fck otunun da sar\u0131mt\u0131rak bir g\u00f6r\u00fc\u015fe sebep oldu\u011fu bilinmektedir. <\/p>\n\n\n\n

Yarat\u0131c\u0131l\u0131k ve yo\u011fun duygular\u0131 olas\u0131 tan\u0131lar\u0131yla ayn\u0131 beyinde bulunduran Van Gogh daha iyi daha ya\u015fanabilir bir d\u00fcnya olas\u0131l\u0131\u011f\u0131na kar\u015f\u0131 normal insanlardan \u00e7ok daha fazla duyarl\u0131yd\u0131. Buna \u00f6zlemi, isteklili\u011fi ve cesaretiyle kendini d\u00fcnyaya adamas\u0131 hayat\u0131 boyunca muzdarip olaca\u011f\u0131 ac\u0131lar\u0131 do\u011furdu. Bize de arkas\u0131nda b\u0131rakt\u0131\u011f\u0131 \u00e7izimlerin, tablolar\u0131n ve g\u00fc\u00e7l\u00fc anlat\u0131ml\u0131 mektuplar\u0131n\u0131n miras\u0131n\u0131 ya\u015fatmak d\u00fc\u015fer. <\/p>\n\n\n\n

Yararlan\u0131lan Kaynaklar<\/p>\n\n\n\n

  1. Voskuil Piet, “Van Gogh\u2019s Disease in the Light of His Correspondence”, Literary Medicine: Brain Disease and Doctors in Novels, Theater, and Film<\/strong>, vol 31 (2013), pp 116\u2013125 .<\/li>
  2. Bhattacharyya Kalyan, “The neuropsychiatric ailment of Vincent Van Gogh<\/strong>“, Ann Indian Acad Neurol, 2015;18:6-9.<\/li>
  3. Lewis Bradley, “A deep ethics for mental difference and disability: the \u2018case\u2019 of Vincent van Gogh”, Med Humanit<\/strong> 2017;0:1\u20135.<\/li>
  4. Taghipour M., “AT ETERNITY\u2019S GATE: TEMPORAL LOBE EPILEPSY AND THE GENIUS OF VINCENT VAN GOGH”, Psychiatria Danubina<\/strong>, 2019; Vol. 31, No. 3, pp 374\u2013376<\/li>
  5. \u00d6zsoy T., Psikiyatrik Tan\u0131larda Atipik Grubu ve Sikloid Psikoz Kavram\u0131, D\u00fc\u015f\u00fcnen Adam, 1991, 4(3): 15 -17 <\/li>
  6. https:\/\/www.britannica.com\/biography\/Vincent-van-Gogh\/Legacy<\/a> <\/li>
  7. https:\/\/www.biography.com\/artist\/vincent-van-gogh<\/a> <\/li><\/ol>\n","protected":false},"excerpt":{"rendered":"

    Van Gogh, 30 Mart 1853’te Hollanda’da d\u00fcnyaya gelen melankolik, yeri gelince karamsar fazlas\u0131yla duygusal, \u00e7ok farkl\u0131 alg\u0131ya ve \u00f6zg\u00fcr bir<\/p>\n","protected":false},"author":55,"featured_media":4079,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[246,546,549,550,551,548,547,125,545,552,544],"acf":[],"views":1872,"_links":{"self":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/4006"}],"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\/55"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/comments?post=4006"}],"version-history":[{"count":1,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/4006\/revisions"}],"predecessor-version":[{"id":4078,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/4006\/revisions\/4078"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/media\/4079"}],"wp:attachment":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/media?parent=4006"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/categories?post=4006"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/tags?post=4006"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}