Flaman Resmi Bağlamında Gerçekliğin Post-İkonografik Resmi Olarak Fotografik Görüntü

Nesnel dünyanın mimetik ve fotografik sayılabilecek şekilde görselleştirildiği veya görünen gerçeğin birebir aynısının üretildiği resimlere 16.yy’dan itibaren ve daha ziyade Hollanda geleneğinde rastlanmaktadır. Hollanda’da 16.’yy’dan itibaren görülen ev içi sahneleri, günlük yaşam sahneleri, sıradan günlük kullanım nesnelerinin betimlendiği natürmortlar sanatçıların karşılarındaki modelleri sabırla kopyaladıklarını gösterir. Bu resimler zaman zaman günlük bir olayı belgeler veya memento mori, vanitas gibi konularda izleyiciye aktarıldığı üzere gündelik yaşam görüntüsünün ardında kutsal bir gerçekliği ifade eder. Her iki betimleme türünde de intersubjektif bir konuma sahip olan Hollanda resimleri görüntünün ardında enformasyonla yüklüdür. Enformasyonun gerçekliği dışsal ve uzamsal görüntüyü resimsel biçime kavuştururken izleyicisine dünyevi ve fani yaşamla ilgili estetik olmaklıktan öte etik anlamda mesaj iletir. Hollanda resminde 16.yy’daki Protestan ikonoklazmasından sonra üretilmeye başlanan gündelik temsiller çok anlamlılığıyla Hristiyan ikonografisinden ayrılır. Hollanda resminde anlam, içerik ve bağlam izleyiciye ve yer aldığı mekana bağlıdır. Post-ikonoklast nesne temsili çok anlamlılığıyla laik sanat anlayışına uygun düşmektedir

Anahtar Kelimeler:

Gerçek, Fotoğraf, Görüntü, Enformasyon, Form Y90

Photographic View As A Post-Iconographic Image of Reality In The Context Of Flaman Painting

The paintings of objective world’s, presumed as mimetically and photographically visualized are met after 16th century and rather in the traditions of Holland. The interior home scenes, daily life scenes, still life’s of daily use objects show that artists copy the facing models with patience. These paintings document a daily event sometimes or express a holy truth behind the daily life image of subjects like memento mori, vanitas which are transferred to the audience. Holland paintings which have and intersubjective status in both portrayal types, are loaded with information behind the image. The reality of the information restores the extrinsic and spatial image to a pictorial form while transmitting a message in ethical manner, far away from the aesthetics of temporal and mortal life. The daily representations of the Holland paintings created after the 16th century’s Protestant iconoclasm, differ from the Christian iconography with their amphiboly. The meaning, content and context of the Holland paintings depend upon the audience and the space that it appeared. Post-iconoclast object representation suits to the secular art conception with its amphiboly. Duchamp seems to say the last word regarding to the representation matter which began to be questioned in the modern art period. With him; retinal reality again give its place to the importance of the context; while the nature of the apparent (form, origin) began to be designable, manipulable and changeable. Photography, maybe the most important mediums of the post-modern status; recreate the ethical reality of the image, which is needed by the modern stage’s pluralist readings, layered fiction, determinacy the existing images with new context upon the ethical place where the machine is placed. Fictional photography has an important place in this context of the current arts reality, where context, that establish the object is restated and even allow the political discourse in technical view.

Keywords:

Truth, Photograph, Image, Information, Form Y90,

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Kocaeli University Journal of Social Sciences, 2013, 25 : 61 - 74
PHOTOGRAPHIC VIEW AS A POST-ICONOGRAPHIC IMAGE OF REALITY IN THE
CONTEXT OF FLAMAN PAINTING
Okt. Ayşe ÖNUÇAK BOZDURGUT•