{"id":7619,"date":"2020-09-17T00:16:22","date_gmt":"2020-09-16T21:16:22","guid":{"rendered":"http:\/\/blog.ulubat.org\/?p=7619"},"modified":"2020-09-28T13:58:27","modified_gmt":"2020-09-28T10:58:27","slug":"ronesansin-basyapitina-tibbi-bir-bakis-500-yil-boyunca-fark-edilemeyen-ayrinti","status":"publish","type":"post","link":"https:\/\/blog.ulubat.org\/index.php\/genel\/ronesansin-basyapitina-tibbi-bir-bakis-500-yil-boyunca-fark-edilemeyen-ayrinti\/","title":{"rendered":"R\u00f6nesans’\u0131n Ba\u015fyap\u0131t\u0131na T\u0131bbi Bir Bak\u0131\u015f: 500 Y\u0131l Boyunca Fark Edilemeyen Ayr\u0131nt\u0131"},"content":{"rendered":"\n
\"\u015eekil
\u015eekil 1. Davud Heykeli
Akademi Galerisi, Floransa<\/strong><\/em><\/figcaption><\/figure>\n\n\n\n

R\u00f6nesans d\u00f6nemi \u0130talyan ressam, heykelt\u0131ra\u015f, mimar ve \u015fairi Michelangelo, heykeldeki ba\u015far\u0131s\u0131n\u0131 kan\u0131tlad\u0131\u011f\u0131 ilk ve en \u00fcnl\u00fc eseri olan Hz. Davud \u2019un heykelini yapt\u0131\u011f\u0131nda hen\u00fcz 26 ya\u015f\u0131ndayd\u0131. Be\u015f bu\u00e7uk metrelik bir mermer k\u00fctleden \u00e7\u0131karaca\u011f\u0131 eser i\u00e7in gen\u00e7 dahi, mermer blo\u011fun yan\u0131na bir baraka in\u015fa ederek yard\u0131mc\u0131 olmadan, \u00e7o\u011fu zaman gece-g\u00fcnd\u00fcz \u00e7al\u0131\u015farak R\u00f6nesans sanat\u0131n\u0131n harikalar\u0131ndan birini ortaya \u00e7\u0131kard\u0131. Eser, yap\u0131ld\u0131\u011f\u0131 g\u00fcnden bu yana milyonlarca ki\u015fi taraf\u0131ndan ziyaret edilmi\u015f, belki de d\u00fcnyan\u0131n en \u00fcnl\u00fc heykelidir.<\/p>\n\n\n\n

Fig\u00fcrde neredeyse m\u00fckemmel insan oran\u0131 <\/em><\/strong>betimlenmi\u015ftir. Heykel, erkek form bilgisi esas al\u0131narak ‘Disegno’<\/em> sanatsal disiplini ile temellendirilmi\u015ftir. Bu disipline g\u00f6re heykel en iyi sanat \u015feklidir. \u00c7\u00fcnk\u00fc, ilahi yarad\u0131l\u0131\u015f\u0131 taklit etmektedir. Michelangelo bu disipline olan ba\u011fl\u0131l\u0131\u011f\u0131n\u0131 \u015fu davran\u0131\u015f \u015fekliyle ortaya koymu\u015ftur; sanki Hz. Davut onun \u00e7al\u0131\u015ft\u0131\u011f\u0131 mermer blo\u011fun zaten i\u00e7indedir ve onu d\u0131\u015far\u0131ya \u00e7\u0131karmak ister. Hatta bu durumu daha sonradan, \u201cMermere s\u0131k\u0131\u015fm\u0131\u015f bir melek g\u00f6rd\u00fcm ve onu \u00f6zg\u00fcrl\u00fc\u011f\u00fcne kavu\u015fturuncaya dek mermeri oydum.\u201d<\/em> \u015feklinde ifade etmi\u015ftir.<\/p>\n\n\n\n

Esas\u0131nda ger\u00e7ek insan oranlar\u0131 g\u00f6zetildi\u011finde heykelin oranlar\u0131 ger\u00e7ek insan\u0131nkine g\u00f6re olduk\u00e7a farkl\u0131d\u0131r. Ba\u015f ve \u00fcst v\u00fccut, alt v\u00fccut oranlar\u0131na g\u00f6re daha b\u00fcy\u00fckt\u00fcr. Kimileri bunu maniyerist<\/em>\u00a0stile dayand\u0131rsa da en kabul g\u00f6rm\u00fc\u015f a\u00e7\u0131klama, heykelin bir kilise cephesine veya y\u00fcksek bir kaidenin \u00fczerine oturtulma amac\u0131yla haz\u0131rlanm\u0131\u015f olmas\u0131 ve bu \u015fekilde bir a\u00e7\u0131dan bak\u0131ld\u0131\u011f\u0131nda oranlar\u0131n do\u011fru g\u00f6r\u00fclecek oldu\u011fudur.<\/em> Ayr\u0131ca heykelin sa\u011f eline bak\u0131ld\u0131\u011f\u0131nda v\u00fccudunun geri kalan\u0131na oranla fazla b\u00fcy\u00fck kald\u0131\u011f\u0131 fark edilir. Bu asimetrinin, Michelangelo\u2019nun Hz. Davut\u2019a verdi\u011fi \u2018Manu Fortis\u2019<\/em> (g\u00fc\u00e7l\u00fc el) takma ad\u0131ndan kaynakland\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fclmektedir.

<\/p>\n\n\n\n

Heykel, ilk bak\u0131\u015fta dini bir fig\u00fcre benzemese de dikkatle bak\u0131ld\u0131\u011f\u0131nda sol omzunda tuttu\u011fu sapan ve sa\u011f elindeki ta\u015f g\u00f6r\u00fcl\u00fcr. Bu objelerden yola \u00e7\u0131karak Michelangelo’nun i\u015fledi\u011fi konunun kutsal kitaplarda ve baz\u0131 dini metinlerde ge\u00e7en, Hz. Davut’la korkun\u00e7 dev Goliath’\u0131n (Calut) y\u00fczle\u015fmesi oldu\u011funu anlayabiliyoruz. Bu y\u00fczle\u015fme asl\u0131nda ba\u015fka bir\u00e7ok sanat\u00e7\u0131 taraf\u0131ndan konu al\u0131nm\u0131\u015ft\u0131; fakat bu eserlerde Hz. Davut \u00e7o\u011funlukla Goliath’\u0131 yendikten sonra tasvir ediliyordu. Michelangelo’nun Davut’unda ise y\u00fczle\u015fmeden hemen \u00f6ncesinin tasvir edildi\u011fi olduk\u00e7a a\u00e7\u0131kt\u0131r. Bunu, fig\u00fcr\u00fcn rahat ama tetikte duru\u015fundan ve y\u00fcz\u00fcndeki gergin ifadeden anlayabiliyoruz.<\/p>\n\n\n\n

Ge\u00e7ti\u011fimiz\ny\u0131l Floransa’n\u0131n Accademia Galerisi’nde Hz. Davud heykelini ziyaret eden Marian\n\u00dcniversitesi Osteopatik T\u0131p Koleji’nde \u00f6\u011fretim \u00fcyesi Dr. Daniel Gelfman, heykel\n\u00fczerindeki 500 y\u0131ldan uzun s\u00fcredir fark\u0131na var\u0131lmam\u0131\u015f anatomik bir dokunu\u015fa\ndikkat \u00e7ekti.<\/p>\n\n\n\n

\u0130nsanlarda\nfizyolojik olarak ve heykellerin \u00e7o\u011funda da g\u00f6vdenin \u00fcst k\u0131sm\u0131ndan boyna do\u011fru\nuzanan juguler ven (\u015fah damar\u0131) d\u0131\u015far\u0131dan g\u00f6r\u00fcnmez. Ancak bu R\u00f6nesans\n\u015faheserinde, potansiyel olarak \u00f6l\u00fcmc\u00fcl bir rakip Goliath ile y\u00fczle\u015fmek \u00fczere\nolan, heyecanl\u0131 ve gergin gen\u00e7 adamda damar a\u00e7\u0131k\u00e7a distand\u00fc (gerilmi\u015f) ve\nk\u00f6pr\u00fcc\u00fck kemi\u011fi \u00fczerinde g\u00f6r\u00fcn\u00fcr hale getirilmi\u015ftir. Dr. Gelfman bunu \u015f\u00f6yle\na\u00e7\u0131klam\u0131\u015ft\u0131r:<\/p>\n\n\n\n

Juguler ven distansiyonu, artm\u0131\u015f intrakardiyak bas\u0131n\u00e7 (kalp i\u00e7i bas\u0131nc\u0131n artmas\u0131) ve olas\u0131 kardiyak disfonksiyon (kalbin pompalama i\u015flevini g\u00f6rememesi) gibi hastal\u0131klarda ortaya \u00e7\u0131kar. Ancak eserde Davut olduk\u00e7a gen\u00e7, hatta muhtemelen sa\u011fl\u0131kl\u0131l\u0131k ve fiziksel g\u00fc\u00e7 anlam\u0131nda zirvede oldu\u011fu y\u0131llarda. Dolay\u0131s\u0131yla burada ba\u015fka bir ba\u011flamda d\u00fc\u015f\u00fcnmemiz gerek; \u00f6rne\u011fin ge\u00e7ici bir uyar\u0131lma durumu. Juguler ven bu sebeple de ortaya \u00e7\u0131kabilir. Davut bir deve kar\u015f\u0131 sava\u015fmaya haz\u0131rlan\u0131yor, elbette bu \u015fekilde olmal\u0131yd\u0131.<\/em><\/p>\n\n\n\n

JAMA\nCardiology dergisinde yay\u0131nlanan yaz\u0131s\u0131nda Gelfman, Michelangelo\u2019nun baz\u0131\nsanatsal \u00e7a\u011fda\u015flar\u0131 gibi anatomik e\u011fitim ald\u0131\u011f\u0131n\u0131 yazd\u0131. Buna g\u00f6re, heyecanl\u0131\nya da gergin sa\u011fl\u0131kl\u0131 bireylerde ge\u00e7ici juguler ven\u00f6z \u015fi\u015fkinlik olabilece\u011fini\nzaten biliyor olmas\u0131 gerekirdi.<\/p>\n\n\n\n

Gelfman’a g\u00f6re etkileyici olan \u015fey, bu g\u00f6zlemin t\u0131p bilimi taraf\u0131ndan ke\u015ffedilmesinden ve belgelenmesinden yakla\u015f\u0131k bir as\u0131r \u00f6nce sanat\u00e7\u0131 taraf\u0131ndan biliniyor olmas\u0131d\u0131r.<\/strong> 1504 y\u0131l\u0131nda Hz. Davut heykelinin yap\u0131ld\u0131\u011f\u0131 s\u0131rada anatomist ve Doktor William Harvey, dola\u015f\u0131m sisteminin ger\u00e7ek mekani\u011fini hen\u00fcz tan\u0131mlamam\u0131\u015ft\u0131. 1628 y\u0131l\u0131na kadar da tan\u0131mlanamayacakt\u0131; ancak Michelangelo’nun g\u00f6zlem g\u00fcc\u00fc, damar\u0131n davran\u0131\u015f\u0131ndaki de\u011fi\u015fiklikleri kendi ba\u015f\u0131na tespit edecek kadar keskindi. Asl\u0131nda bu anatomik detay, Roma’da Papa II. Julius’un mezar\u0131ndaki Hz. Musa heykelinde tekrar kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. Gelfman, bu sanat eserinde \u00e7o\u011fu izleyicinin oturan Musa fig\u00fcr\u00fcn\u00fcn heyecanl\u0131 bir durumda oldu\u011fu konusunda hemfikir oldu\u011funu yazd\u0131. Buna kar\u015f\u0131l\u0131k, Michelangelo’nun Pieta <\/em>adl\u0131 eserinde hen\u00fcz \u00f6len ve annesinin kuca\u011f\u0131nda yatmakta olan Hz. \u0130sa fig\u00fcr\u00fcn\u00fcn \u015fah damar\u0131, anatomik anlamda olmas\u0131 gerekti\u011fi gibi, gerilmemi\u015fti ve g\u00f6r\u00fcnm\u00fcyordu. Heyecanl\u0131, korkmu\u015f ya da tela\u015fl\u0131 bir durum s\u00f6z konusu oldu\u011funda ise Michelangelo bu dola\u015f\u0131m g\u00f6zlemini eserinde ifade etmek istemi\u015f olmal\u0131yd\u0131. Gelfman, “Kardiyovask\u00fcler fizyolojide bu kadar s\u0131n\u0131rl\u0131 bilginin oldu\u011fu bir zamanda, bu bulgunun fark\u0131nda olma ve sanat eserinde ifade etme becerisine hayret ediyorum.”<\/em> diye yazd\u0131. “\u0130lgin\u00e7tir ki, bug\u00fcn bile bu fenomen tipik kardiyoloji ders kitaplar\u0131nda tart\u0131\u015f\u0131lmamaktad\u0131r.”<\/em> <\/p>\n\n\n\n

\"\u015eekil
\u015eekil 2. Musa’n\u0131n H\u00fckm\u00fc Heykeli
San Pietro Bazilikas\u0131, Floransa<\/em><\/strong>

<\/figcaption><\/figure><\/div>\n\n\n\n
\"\ufeff\u015eekil
\u015eekil 3. Pieta Heykeli
Aziz Petrus Bazilikas\u0131, Vatikan<\/strong><\/em><\/figcaption><\/figure><\/div>\n\n\n\n

Bu ayr\u0131nt\u0131 her\nne kadar 500 y\u0131ldan fazla bir s\u00fcredir apa\u00e7\u0131k bir yerde saklan\u0131yor olsa da Gelfman’\u0131n\nFloransa ziyareti s\u0131ras\u0131ndaki geli\u015fig\u00fczel g\u00f6zlemi ile Michelangelo’nun \u2018distand\u00fc\njuguler ven\u2019 <\/em>tasviri t\u0131p literat\u00fcr\u00fcne ilk kez kaydedilmi\u015ftir. Gelfman’\u0131n\nraporunu okuyan iki kardiyolog ise bu bulgunun muayenenin ilk etab\u0131nda basit\u00e7e hastaya\nbakman\u0131n bile ne kadar b\u00fcy\u00fck bir tan\u0131sal g\u00fcce sahip oldu\u011funu vurgulad\u0131\u011f\u0131n\u0131\nifade etmi\u015ftir.<\/p>\n\n\n\n

Staten\nIsland \u00dcniversite Hastanesinde kardiyak elektrofizyolojiyi y\u00f6neten Dr. Marcin\nKowalski \u015f\u00f6yle s\u00f6ylemi\u015ftir:<\/p>\n\n\n\n

500\nya\u015f\u0131ndaki bir heykelin tan\u0131da kullan\u0131labilecek fiziksel bulgular\u0131 tasvir\nedebilmesi inan\u0131lmaz. G\u00fcn\u00fcm\u00fcz\u00fcn teknolojik taramalar\u0131 ve kan testleri \u00e7a\u011f\u0131nda,\nanatomi veya t\u0131p \u00f6\u011frencilerinin hastal\u0131klar\u0131 sadece g\u00f6zlem yoluyla te\u015fhis\nedebilmeleri de beni her zaman \u015fa\u015f\u0131rt\u0131yor. Umar\u0131m fizik muayene sanat\u0131 gen\u00e7\nhekimlerimizin repertuar\u0131ndan \u00e7\u0131kmaz ve t\u0131p fak\u00fclteleri y\u00fcksek teknolojiye\nsahip testlerden \u00f6nce fiziksel bulgular\u0131 \u00f6\u011fretmeye devam eder. <\/em><\/p>\n\n\n\n

Long Island\nJewish Valley Stream Hastanesinde kalp yetmezli\u011fi servislerini y\u00f6neten Dr.\nDavid Friedman da bu d\u00fc\u015f\u00fcnceleri yineleyerek, Gelfman’\u0131n \u2018Davud \u0130\u015fareti\u2019<\/em>\nolarak adland\u0131rd\u0131\u011f\u0131 \u015feyin g\u00f6zleminin doktorlara klinik fiziksel muayenenin\ninceliklerini, bunun hastal\u0131klar ile ne kadar yak\u0131ndan ili\u015fkili olabilece\u011fini\nhat\u0131rlatmas\u0131 gerekti\u011fini vurgulam\u0131\u015ft\u0131r. Ayr\u0131ca, t\u0131bb\u0131n bir sanat oldu\u011fu\nkonusundaki bo\u015flu\u011fu doldurmaya da yard\u0131mc\u0131 oldu\u011funu s\u00f6ylemi\u015ftir.<\/p>\n\n\n\n

Stendhal Sendromu* belirtilerini g\u00f6stermeye ba\u015flayan okurlar\u0131m i\u00e7in yaz\u0131m\u0131 yine \u00fcnl\u00fc heykelt\u0131ra\u015f\u0131m\u0131z\u0131n bir s\u00f6z\u00fcyle bitirmek istiyorum,<\/p>\n\n\n\n

\u201c\u0130nsanlar, ustal\u0131\u011f\u0131m\u0131 elde etmek i\u00e7in benim ne kadar \u00e7ok \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131 bilseler o kadar hayret edilecek bir \u015fey olmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcrlerdi.\u201d<\/sup><\/em><\/p>\n\n\n\n

(Michelangelo)<\/em><\/p>\n\n\n\n

*Stendhal Sendromu (Floransa Sendromu)<\/strong>: Sanat zehirlenmesi olarak da tarif edilen, ki\u015finin \u00f6zellikle sanat eserlerinin g\u00fczelli\u011fi, ihti\u015fam\u0131 ve insan\u0131 i\u00e7ine \u00e7eken havas\u0131 kar\u015f\u0131s\u0131nda\u00a0kalp\u00a0at\u0131\u015flar\u0131n\u0131 h\u0131zlanmas\u0131, ba\u015f d\u00f6nmesi, bayg\u0131nl\u0131k ge\u00e7irmesi, daha da ileri boyutlar\u0131nda hal\u00fcsinasyon g\u00f6rmesine sebep olan psikosomatik bir rahats\u0131zl\u0131k.<\/p>\n\n\n\n

\u0130LER\u0130 OKUMALAR<\/strong><\/p>\n\n\n\n

1. Kur\u2019an-\u0131\nKerim 249, 250 ve 251. ayetler meal ve tefsirleri,<\/em> https:\/\/kuran.diyanet.gov.tr\/tefsir\/Bakara-suresi\/256\/249-250-ayet-tefsiri<\/a> https:\/\/kuran.diyanet.gov.tr\/tefsir\/Bakara-suresi\/258\/251-ayet-tefsiri<\/a> <\/p>\n\n\n\n

2. Davut Heykeli \u2013 Donatello,\nMichelangelo ve Bernini,<\/em> https:\/\/www.tarihlisanat.com\/davut-heykeli\/<\/a><\/p>\n\n\n\n

KAYNAKLAR<\/strong><\/p>\n\n\n\n

1. A\nmedical insight in Michelangelo’s David, ‘hiding in plain sight’,<\/em> https:\/\/medicalxpress.com\/news\/2019-12-medical-insight-michelangelo-david-plain.html<\/a> (Dec 26, 2019)<\/p>\n\n\n\n

2. Michelangelo<\/em>,\nhttps:\/\/tr.wikipedia.org\/wiki\/Michelangelo<\/a> \n(May 3, 2020)<\/p>\n\n\n\n

3. Davut (Michelangelo),\n<\/em>https:\/\/tr.wikipedia.org\/wiki\/Davut_(Michelangelo)<\/a> <\/p>\n\n\n\n

4. Michelangelo\nve Davut Heykeli<\/em>, https:\/\/wannart.com\/icerik\/11194-michelangelo-ve-davut-heykeli<\/a> (Sep 8, 2017)<\/p>\n\n\n\n

5. Davut\nHeykeli Hakk\u0131nda 12 Bilinmeyen,  <\/em>https:\/\/www.artkolik.net\/yazilar\/davut-heykeli-hakkinda-12-bilinmeyen-3165<\/a> \n(Dec 22, 2018)<\/p>\n\n\n\n

6. Michelangelo\neserleri listesi,<\/em> https:\/\/www.wikiwand.com\/tr\/Michelangelo_eserleri_listesi<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

R\u00f6nesans d\u00f6nemi \u0130talyan ressam, heykelt\u0131ra\u015f, mimar ve \u015fairi Michelangelo, heykeldeki ba\u015far\u0131s\u0131n\u0131 kan\u0131tlad\u0131\u011f\u0131 ilk ve en \u00fcnl\u00fc eseri olan Hz. Davud<\/p>\n","protected":false},"author":338,"featured_media":7626,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1,25,19,23,6],"tags":[1101,1100,1104,1103,1102,589],"acf":[],"views":2187,"_links":{"self":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/7619"}],"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\/338"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/comments?post=7619"}],"version-history":[{"count":3,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/7619\/revisions"}],"predecessor-version":[{"id":7856,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/7619\/revisions\/7856"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/media\/7626"}],"wp:attachment":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/media?parent=7619"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/categories?post=7619"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/tags?post=7619"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}