Mekan kurgusu ve 20.yy. resim sanatında yansımaları /
Yazar: CENK BEYHAN
Danışman: PROF. AYDIN AYAN
Mimar Sinan Güzel Sanatlar Üniversitesi / Sosyal Bilimler Enstitüsü / Resim Ana Sanat Dalı
Derece: Sanatta Yeterlik, 2007
Konu: Güzel Sanatlar = Fine Arts

Özet:
Mekh alg~smnmn as~lg ergeklegtigine iligkin Antik Cagdan beri ortaya konan biitalum diQtincelerin, yontemli wtnmalar ile bilimsel nitelige kavugmasl ancakgegtigimiz yiizy~ldam iimkiin olmqtu. 18.yy.da y q a g o lan hlandal~d ugiintir GeorgeBerkeley, goziin ag tabakas~nad iQen goriintiiniin iki boyutlu olmasmdan yola gkarak,mekhm ogrenme yoluyla alg~land~g~omne siirmiigtii. Bununla beraber giiniimiizpsikologlan in- mekh al~lamasmda dogugtan gelen bir takun yetilerin roluoldugunu savlamaktad~rlar.Geleneksel anlamda iki boyutlu bii yiizey iizerine yap~lrmg olan bir resmin digdtinyaya ait bir talum me&sal ozellikleri nasll yans~tabildigi ve bunun izleyicitaraimdan nasll anlqil&@ ise hem alplama psikolojisini hem de optik biiminin ortakkonusudur. Ancak resim sanat~nda, tiim bu sorulann heniiz tam a n l a y l a do@u bircevabm verilemedigi gaglardan itibaren, mekbsal ozelliieri belirleyebilmek igin pekgok yo1 icat edilmigtir. Bu noktada temel bir aynm resim mekhmn simgesel biranlatun, bilgiye dayall bii kavram, optik yasalama dayanan bii yamlsama ya da alg~salbir goriingiiyii yans~tma ugrqmnda ortaya g~krmghr. Mekh olgusunun resim yoluylaaqmianmas~y a da belirlenmesinde, gok gene1 b q l i a r altmda sayd~glrmzti im bu farkl~yaklqdar, farkli gag ve diQtincelerin iiriinleridii.Perspektif, teknik bii bulq oldugu kadar, Bat1 uygarhgmda, insanm birey olmastirecini yans~tano nemli bir belirti ya da insam yagamm merkezine alan Hiimanizrninsanatsal bir yanslmasl olarak diimiilebilir. Formlann aqlmasi ve resimde yatay-dikeykurgusunun yerini bqka kompozisyon ilkelerinin almas~, sanat alamnda oldugu kadar,matematikte de bir geylerin degigtigini giistermektedir. Rengin fiziksel ve alglsal birozellik olarak incelenmesi, diQiince alanmda da yeni bii qagm belirtisidir. Kiibizm ile&g diinyaya bakqta yaganan h l m a , Eukleides &g~ geometriler ve Rolativite gibikuramlann yam slra Modernitenin igkin elegtirel tam ile de ilgilidir.Mekhm resim yoluyla tanunlanrnasmddq yiiqillar iginde ortaya glkan yeniyaklaglmlar, bazen sanattaki teknik ilerlemeyle paralel bir olgu, bazen de qok dahafarkl~ toplumsal, politik, di, Mtiirel, teknolojik v.b. etkenlerle ilgili olabilmekteydi.Bu nedenle sanattaki diger olgular gibi me& konusunda da diiz bii gelivimqizgisinden soz etmek miimkiin degildir. Ancak bunun yerine mekhal ozelliklerin, birresmin yap~ldlg~ga ga ve ait oldu@ kiiltiire dair oldukqa fazla bilgiyi taVlyorolmas~ndans oz edilebilir.Anahtar Kelimeler: Resim, Kavram, Yamlsama, Uzam, Derinlik.

Abstract:
It was not until the past century that particular opinions, which had been put forthsince Archaic Age in relation to how spatial perception functions, gained a scientificquality through methodical researches. George Berkeley, an Irish philosopher of theeighteenth century, argued that space is perceived through learning, basing on the factthat the retinal image of any object is two-dimensional. Nevertheless, contemporarypsychologists have discovered that certain inherent skills have a role in an individual'sperception of space.The questions of how a picture on a two-dimensional surface in traditional termscan reflect particular spatial characteristics of outer world and how this is perceivedby the viewer constitute the common subject of both psychology of perception andoptical science. However, a large number of methods have been invented to identifyspatial features in the art of painting ever since the ages during which all theaforementioned questions could not be correctly answered. The basic difference inthis point appeared in efforts to reflect a symbolic expression of painting space, aknowledge-based notion, an illusion resulting as a consequence of optical laws or aperceptual phenomenon. All these diverse approaches in analysis or identification ofspace phenomenon by means of painting, which we touched upon under general titles,are products of different ages and ideas.Perspective could be considered both as a technical finding, a significant indicator ofman's individualization process in Western civilization, or an artistic reflection ofHumanism which centers human on the very core of life. Unfolding forms and newprinciples having replaced horizontal-vertical compositions in painting manifest thatthings have been subject to changes both in field of art and mathematics. Examinationof colour as a physical and perceptual feature is the sign of a new era in realm ofthought. Refraction occurring in perception of outer world with the appearance ofCubism, non-Euclidean geometry, and theories such as Relativity are as well associatedwith the immanent critical attitude of Modernity.New approaches in identification of space by painting, which have come into beingwithin centuries, have sometimes been in parallel with the technical progress in art, andsometimes rather related to much more different social, political, religious, cultural,technological etc. factors. Therefore, as similar to other phenomena in art, it is notpossible to indicate presence of a linear progress in terms of space. Yet, it could beargued that spatial characteristics are likely to carry considerable amount of knowledgein relation to the age and culture which a painting belongs to.Key Terms: Painting, Concept, Illusion, Space, Depth.