Pisanello’da Ası (İdam)

Ası (idam), yüzyıllar boyunca sanatçıların da ilgisini çekmiştir. Giotto (1267/1277-1337), Ambroggio Lorenzetti (1285/1290 – 1348), Leonardo da Vinci (1452 – 1519), Andrea del Sarto (1486 – 1531), Annibale Carracci (1560 – 1609), ilk akla gelen örnekler arasında sayılabilir. Yine İtalyan fresklerindeki cehennem betimlemelerinde de idam edilmiş figürlere sıkça rastlanır. Burada tıp tarihi açısından ilk akla gelen, sanatçının gerçek bir idam görüp görmediği, gördüğünü ne denli gerçekçi olarak bizlere aktardığı konusunda bir değerlendirme yapmak / yapmaya çalışmaktır. Pisanello’nun konumuzu oluşturan ası (idam) betimlemesi, Verona’da bulunan Sant’Anastasia Kilisesinin Pellegrini Şapelindeki “Aziz George ve Trabzon Prensesi” freskinde sol arka köşede yer almaktadır. Sanatçının günümüze ulaşan, freskleri için hazırladığı taslak çizimler arasında da ası sahneleri vardır. Freskte yer alan soldaki figürün boyun kısmındaki ipin durumu “atipik ası”, sağdaki figürdeki durumu ise “tipik ası”ya uymaktadır. Bu da Pisanello’nun gerçek hayatta idam edilen figürleri gördüğünü ve çok kuvvetli bir gözlem gücü olduğunu göstermektedir.

Anahtar Kelimeler:

Pisanello, Ası, İdam, Tıp Tarihi, Tıp ve Sanat, Sanat ve Ası, Tıpta İnsan Bilimleri

Hanging as a Form of Execution in Pisanello

Hanging as a form of execution has attracted the attention of artists for centuries, with Giotto (d. 1337), Ambroggio Lorenzetti (d. 1348), Leonardo da Vinci (d.1519), Andrea del Sarto (d. 1531), Annibale Carracci (d. 1609), and Pisanello (c.1395-c.1455) being among the first examples to come to mind. Executed figures are also frequently encountered in the depictions of hell in Italian frescoes. The first thing that comes to mind here in terms of medical history is to make an evaluation about whether artists had seen a real execution or not and how realistically they conveyed what they had seen. Pisanello’s depiction of a hanging located in the back left corner of the Saint George and the Princess of Trebizond fresco in the Pellegrini Chapel in the Church of Sant’Anastasia, Verona, North Italy, constitutes this study’s subject. The hanging scene sketches Pisanello prepared for this fresco have survived to the present day. The placement of the rope on the neck of the figure on the left in the fresco corresponds to an atypical hanging, while the situation of the figure on the right corresponds to a typical hanging. This shows that Pisanello had seen the executed figures in real life and had had a very strong power of observation.

Keywords:

Pisanello, Hanging, History of Medicine, Medicine and Art, Art and Hanging, Medical Humanities,

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