İKONOGRAFİK DİLİN YİTİMİ: MODERNİZMİN ÇARMIHA GERDİĞİ İSA

Çarmıh Hristiyan dünyası için ne kadar önemliyse Batı resmi için de bir o kadar önemlidir. Hristiyanlık gibi Batı resmi de bu “kutsal” nesne/form üzerine inşa edilmiştir. İsa’nın 3. yüzyıldan itibaren haç üzerinde tasvir edilmeye başlanmasıyla birlikte ikonografik bir dil de yavaş yavaş ortaya çıkmıştır. Zaman içerisinde oluşan bu ikonografik dil Rönesans’la birlikte aşınmaya başlasa da 20. yüzyılın başlarına kadar bazı istisnalar dışında bozulmadan gelmiştir. Bu tarihten itibaren geleneksel ikonografik dil birçok sanatçı tarafından göz ardı edilmiş yeni formlar ve ifade biçimleriyle çarmıha gerilme tasvirleri farklı bir boyuta evrilmiştir. Geleneksel dilden uzaklaşan modern çarmıha gerilme tasvirleri bazen konuyla bağlantı kurulamayacak kadar soyut bazen de Hristiyan anlatıyla ilgisi kurulamayacak kadar alakasız bir şekilde resmedilmiştir. Geleneksel ikonografik dilin genelde tebliğ temelli kaygısı modern sanatçının tuvalinde teknik, ifadesel, siyasal ve toplumsal kaygılara dönüşmüştür. İsa sadece kendi çektiği acıların değil ezilmişlerin, yurdundan sürülmüşlerin, işkenceye maruz kalmışların görsel sözcüsüne dönüşmüştür. Picasso’nun resminde Kübizmin, Douglas’ın tuvalinde zencilerin sözcüsü olmuştur. Geleneksel ikonografik dil yavaş yavaş kaybolurken yeni bir dil ortaya çıkmıştır. Bu yeni dilde çarmıha gerişmiş İsa’nın görevi bir yandan sanatçı için bir yandan da acı çekenler için konuşmaktır.

Anahtar Kelimeler:

haç, çarmıha gerilme, Batı resmi, modernizm, ikonografik dil

THELOSS OF ICONOGRAPHIC LANGUAGE: JESUS WHO HAS BEEN CRUCIFIED BY MODERNISM

Jus crucial is important for the Christian world, it is as important for the Western painting. Like Christianity, the Western painting is built on this "sacred" object / form. With the beginning of the depiction of Jesus on the cross from the 3rd century onwards, an iconographic language gradually emerged. Although this iconographic language formed in time modern crubegan to wear with the Renaissance, it came intact until the beginning of the 20th century, with some exceptions. Since then, traditional iconographic language has evolved to a differen dimen sion, with new forms and forms of expression ignored by many artists. Depictions of cifixions, which diverge from the traditional language, are sometimes too abstract to be connected with the subject and sometimes too irrelevant to be related to the Christian narrative. Traditionally iconographic language-based anxiety in general has turned into technical, expressive, political and social concerns on the canvas of the modern artist. Jesus has become a visual spokesperson for not only the suffering he suffered, but the oppressed, exiled, and tortured. In Picasso's painting, he became the spokesperson of Cubism, and the blacks on Douglas's canvas. While the traditional iconographic language is gradually disappearing, a new language has emerged. The task of Jesus crucified in this new language is to speak for the artist, on the one hand, and for those who suffer.

Keywords:

crucifix, crucifixion, Western Painting, modernism, iconographic language,

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