Görsel sanatlarda çözümleme için değer kavramlarının yeri
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Dosyalar
Tarih
2015-05-14
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Işık Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Attribution-NonCommercial-NoDerivs 3.0 United States
Attribution-NonCommercial-NoDerivs 3.0 United States
Özet
Sanat (eseri); estetik, sanat tarihi, eleştiri, ruhbilim, felsefe, göstergebilim gibi alanlardan pek çok uzmanın incelemesine konu olmuştur. Her biri kendi alan bilgisini sanat alanına taşımıştır. Özellikle, göstergebilimin gösterge ve işaret kavramları ve yeni eleştirinin ‘bizzat sanat eserine yönelme ilkesi’ yol açıcı olmuştur. Bu çalışmada sanat eserine, sanata yönelik her alandan getiriler göz ardı edilmeden yeni bir bakış açısına yerleşme olanağı üzerinde durulmuştur: Sanat eserini anlamada değerler bir bakış açısı olabilir mi? Elbette bu soruyu sorar sormaz, konunun yeni olmadığı ileri sürülecektir. Doğrudur. Ancak bu konuda yapılan çalışmalara bakıldığında bunların dağınık ya da çok sınırlı oldukları görülmektedir. Bu yüzden değerler konusuna daha geniş bir perspektiften bakılmaya ihtiyaç olduğu düşünülmüştür. Bu amaç doğrultusunda öncelikle değerin neliği ve çevresindeki, ilişkili olduğu kavramlar dikkate alınmış ve çalışma kuramsal ve uygulama olarak iki bölümden oluşturulmuştur. Birinci bölümde değer kavramının genelde hangi akslara,,yani hangi karşıt iki uca oturtulduğu gözlenmiş. Ardından araştırmalara konu edilmiş ya da edilebilecek değer tipleri kısaca ele alınmış, böylece kesin bir sınıflandırma olmasa da, değer tiplerinin uzanımı, sanat eserini anlamada sapmaların ve sanat eserine odaklanmadaki olanakların kabaca da olsa görülmesine fırsat sağlamıştır. İkinci bölümde Hans Baldung’un (1510- 1520) arasına tarihlenen “Havva, Yılan ve Ölüm” tablosu karşılaştırmalı ve eleştirel bakışla, yalnızca temsili değeri konu edilerek incelenmiştir. Ardından Agnolo Bronzino’nun “Aşk Alegorisi” (1546) adlı tablosu daha geniş biçimde karşılaştırmalı ve değer kavramları açısından incelenmiştir. Sonuç olarak, sanat eserine yaklaşımda, öznel bakışların, incelemecinin ilgi alanının sanat eserini anlamayı başka alanlara kaydırdığı gözlenmiş ve sanat eserinin sanatı ilgilendiren değer kavramları açısından bütüncül bir incelenmesinin yapılıp yapılmadığını test etme, incelemenin eksik yanlarını nesnel biçimde görme şansı vereceği için bu yöntem olumlu bulunmuştur. Ve değer çözümlemeci yaklaşımın sanat eserini incelemede birincil ve ikincil değerlerin görülmesine olanak tanıdığı düşünülmektedir.
The (work of) Art, up to now, has been studied by eminent persons from different disciplines as aesthetics, art history, criticism, psychology, philosophy, semiotics and so on. And each of them has transfered their knowledge on the disciplines in that they are specialists. In this area, the termes of the sign and the signal of semiotics and the principle of “first of all” (or only) the work of art” of new criticism have been path breaking. In this study, we searched the settlement possibility on a new point of view, without forgetting the contributions of other approaches, and of others. Our basic problem is this question: Can systematic classification of values be helpfull in the comprehension of the (work of) Art? Of course, the negative ansver comes suddenly: There are a lot of writings on the value, it is not new. That is true. But if we read them we can observe that they are limited and sacattered. Not concerned directly with art or the work of art itself. Not classified on the focus of art. So, we think that we need to see the art, on this subject, in a larger perspective. To this end, firstly we reviewed the adjacent concepts of value, like meaning, function, act, And the study is created as two essential chapters: chapter I: theorical: chapter II: practical. In the first chapter, the concept of value is withstanded on which axes, it meams that, on which opposite poles? After that, we studied the value types studied by others, and the value types to be studied. And so we reached to a list of value types. We know that is not an absolute calssificication. It is roughly, and with missing ones. But at the same time it is clear that, our list gives a general idea on the expansion of value concepts, and on the deviation of art study works and on the possibility of axiology (science of values) as understanding or commenting the work of art. In the second chapter, the work of Hans Baldung, dating between 1510 and 1520, “Eve, Serpent and Death” is studied with a critical and comparative regard, focusing only presentative value of work. Secondly the work of Agnolo Bronzino, dating 1546, “The Allegory of Love” is studied in a more detailed form from the point of values. But at the same time, we essayed to understand it fom the comparative and semiotic point of view. As a result, we observed that subjective approaches, transfer the meaning of art to their own center of interest. And we decided that a work of art can be studied from the point of view of new (artistic) axiology. And we can say that it can give to us a chance of testing objectively our study.
The (work of) Art, up to now, has been studied by eminent persons from different disciplines as aesthetics, art history, criticism, psychology, philosophy, semiotics and so on. And each of them has transfered their knowledge on the disciplines in that they are specialists. In this area, the termes of the sign and the signal of semiotics and the principle of “first of all” (or only) the work of art” of new criticism have been path breaking. In this study, we searched the settlement possibility on a new point of view, without forgetting the contributions of other approaches, and of others. Our basic problem is this question: Can systematic classification of values be helpfull in the comprehension of the (work of) Art? Of course, the negative ansver comes suddenly: There are a lot of writings on the value, it is not new. That is true. But if we read them we can observe that they are limited and sacattered. Not concerned directly with art or the work of art itself. Not classified on the focus of art. So, we think that we need to see the art, on this subject, in a larger perspective. To this end, firstly we reviewed the adjacent concepts of value, like meaning, function, act, And the study is created as two essential chapters: chapter I: theorical: chapter II: practical. In the first chapter, the concept of value is withstanded on which axes, it meams that, on which opposite poles? After that, we studied the value types studied by others, and the value types to be studied. And so we reached to a list of value types. We know that is not an absolute calssificication. It is roughly, and with missing ones. But at the same time it is clear that, our list gives a general idea on the expansion of value concepts, and on the deviation of art study works and on the possibility of axiology (science of values) as understanding or commenting the work of art. In the second chapter, the work of Hans Baldung, dating between 1510 and 1520, “Eve, Serpent and Death” is studied with a critical and comparative regard, focusing only presentative value of work. Secondly the work of Agnolo Bronzino, dating 1546, “The Allegory of Love” is studied in a more detailed form from the point of values. But at the same time, we essayed to understand it fom the comparative and semiotic point of view. As a result, we observed that subjective approaches, transfer the meaning of art to their own center of interest. And we decided that a work of art can be studied from the point of view of new (artistic) axiology. And we can say that it can give to us a chance of testing objectively our study.
Açıklama
Text in Turkish ; Abstract: Turkish and English
Includes bibliographical references (leaves 86-89)
xi, 91 leaves
Includes bibliographical references (leaves 86-89)
xi, 91 leaves
Anahtar Kelimeler
Aksiyoloji, Değer çözümlemesi, Göstergebilim, Semantik, Yorum bilgisi, Axiology, Hermeunetics, Semantics, Semiotics, Value analysis
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Doğan, Ö. (2015). Görsel sanatlarda çözümleme için değer kavramlarının yeri. İstanbul: Işık Üniversitesi Sosyal Bilimler Enstitüsü.
