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Osman Hamdi Bey\u2019in Kaplumba\u011fa Terbiyecisi eseri, d\u00f6nemin k\u00fclt\u00fcrel yap\u0131s\u0131n\u0131 ve sanat\u00e7\u0131n\u0131n d\u00fc\u015f\u00fcnsel d\u00fcnyas\u0131n\u0131, \u00f6zellikle kaplumba\u011fa fig\u00fcrleri \u00fczerinden sembolik bir anlat\u0131mla yans\u0131t\u0131r.<\/p>\n
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Osman Hamdi Bey, Kaplumba\u011fa Terbiyecisi\u2019ni 1906 ve 1907 y\u0131llar\u0131nda iki versiyon h\u00e2linde \u00e7al\u0131\u015ft\u0131. Ya\u011fl\u0131 boya tekni\u011fiyle yap\u0131lan eser, 222 \u00d7 122 cm \u00f6l\u00e7\u00fclerindedir. \u0130lk kez 1906\u2019da Paris\u2019teki Grand Palais\u2019de L\u2019homme aux Tortues (Kaplumba\u011fal\u0131 Adam) ad\u0131yla sergilendi. D\u00f6nemin Osmanl\u0131 Ressamlar Cemiyeti taraf\u0131ndan ise Kaplumba\u011falar ve Adam olarak an\u0131ld\u0131. Zamanla eser, bug\u00fcn bilinen ad\u0131yla haf\u0131zalara yerle\u015fti. Tablonun Bursa Ye\u015fil Camii\u2019nin \u00fcst kat\u0131ndaki bir odada \u00e7izildi\u011fi aktar\u0131l\u0131r. Dikey kompozisyonun h\u00e2kim oldu\u011fu sahnede al\u00e7ak bir pencereden s\u00fcz\u00fclen g\u00fcn \u0131\u015f\u0131\u011f\u0131 mek\u00e2n\u0131 ayd\u0131nlat\u0131r. Lo\u015f ortamda, kaplumba\u011falar\u0131 terbiye etmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fclen bir fig\u00fcr ve onun \u00e7evresinde a\u011f\u0131r ad\u0131mlarla ilerleyen kaplumba\u011falar yer al\u0131r.<\/p>\n
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Resimde izleyiciye arkas\u0131n\u0131 d\u00f6nm\u00fc\u015f erkek fig\u00fcr\u00fc, yerde bulunan alt\u0131 kaplumba\u011fan\u0131n i\u00e7inde konumlan\u0131r. Fig\u00fcr\u00fcn ellerinde bir \u00fcflemeli \u00e7alg\u0131, s\u0131rt\u0131nda ise nakkare bulunur. (Def \u00e7alan ki\u015filere eskiden \u201cnakkar\u201d denmesi, bu \u00e7alg\u0131n\u0131n ad\u0131n\u0131n da ayn\u0131 k\u00f6kten t\u00fcredi\u011fini g\u00f6sterir; nakkare b\u00fcy\u00fck def anlam\u0131na gelir.) Do\u011fu\u2019ya \u00f6zg\u00fc k\u0131rm\u0131z\u0131 entarisi, belindeki kemerle birlikte kompozisyonda g\u00fc\u00e7l\u00fc bir g\u00f6rsel a\u011f\u0131rl\u0131k olu\u015fturur. \u0130\u00e7 mek\u00e2nda d\u00f6k\u00fclen s\u0131valar, y\u0131pranm\u0131\u015f \u00e7iniler ve genel lo\u015fluk hissi dikkat \u00e7eker. I\u015f\u0131k, pencere kemeriyle fig\u00fcr aras\u0131nda simetrik bir ili\u015fki kurar. Osman Hamdi Bey, \u0131\u015f\u0131k-g\u00f6lge kar\u015f\u0131tl\u0131\u011f\u0131ndan yararlanarak sahnedeki dramatik etkiyi art\u0131r\u0131rken; nesnelerin do\u011fal renklerine ba\u011fl\u0131 kalmay\u0131 tercih etmi\u015ftir. Eserle ilgili yayg\u0131n yorumlardan biri, k\u0131rm\u0131z\u0131 giysili fig\u00fcr\u00fcn Osman Hamdi Bey\u2019i temsil etti\u011fidir. Sanat\u00e7\u0131n\u0131n ba\u015fka eserlerinde de kendi fig\u00fcr\u00fcn\u00fc kulland\u0131\u011f\u0131 bilinir. Bunun i\u00e7in \u00f6nce istedi\u011fi a\u00e7\u0131dan foto\u011fraf \u00e7ektirdi\u011fi, ard\u0131ndan bu g\u00f6r\u00fcnt\u00fclerden yararlanarak resimlerini olu\u015fturdu\u011fu aktar\u0131lmaktad\u0131r.<\/p>\n
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Sanat\u00e7\u0131n\u0131n m\u00fczecilik \u00e7al\u0131\u015fmalar\u0131, sanat e\u011fitimi alan\u0131ndaki giri\u015fimleri ve arkeolojik kaz\u0131lar yoluyla bilimi yayma \u00e7abas\u0131, fig\u00fcr\u00fcn reformcu bir kimlik olarak okunmas\u0131na zemin haz\u0131rlar. Yerdeki kaplumba\u011falar ise bu d\u00f6n\u00fc\u015f\u00fcm s\u00fcrecine ayak uydurmakta zorlananlar\u0131 simgeler. Yava\u015f hareketleri ve sert kabuklar\u0131yla kaplumba\u011falar, zahmetli bir s\u00fcreci i\u015faret eder. E\u011fitilmesi g\u00fc\u00e7 bu fig\u00fcrler kar\u015f\u0131s\u0131nda dervi\u015fin hafif\u00e7e e\u011filmi\u015f duru\u015fu, \u00fcstlendi\u011fi sorumlulu\u011fun a\u011f\u0131rl\u0131\u011f\u0131n\u0131 ve buna e\u015flik eden y\u0131lg\u0131nl\u0131\u011f\u0131 sezdirir. Kaplumba\u011falar\u0131n tabloda yer almas\u0131n\u0131n kesin nedeni belgelere dayand\u0131r\u0131lamasa da T\u00fcrk k\u00fclt\u00fcr\u00fcnde ve mitolojik anlat\u0131larda ta\u015f\u0131d\u0131klar\u0131 sembolik anlamlar g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda bu tercihin rastlant\u0131sal olmad\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcr.<\/p>\n
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Kompozisyonun \u00fcst b\u00f6l\u00fcm\u00fcnde yer alan ve \u201cKalplerin \u015fifas\u0131, sevgiliyle bulu\u015fmakt\u0131r<\/em>.\u201d \u015feklinde \u00e7evrilen \u015eif\u00e2\u02be\u00fc\u2019l-kul\u00fbb lik\u0101\u02be\u00fc\u2019l-mahb\u00fbb<\/em> ifadesi, tablonun d\u00fc\u015f\u00fcnsel merkezlerinden biridir. Bu s\u00f6z\u00fcn, terbiyecinin kaplumba\u011falara aktarmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 bilgi ve bilgelik anlay\u0131\u015f\u0131na i\u015faret etti\u011fi d\u00fc\u015f\u00fcn\u00fcl\u00fcr. Yaz\u0131n\u0131n kompozisyonda her \u015feyin \u00fczerinde konumlanmas\u0131, ona atfedilen kutsall\u0131\u011f\u0131 da g\u00f6r\u00fcn\u00fcr k\u0131lar. Kaplumba\u011fa Terbiyecisi, ayn\u0131 zamanda \u201csab\u0131r\u201d kavram\u0131 \u00fczerinden okunur. Yava\u015f hareket eden ve e\u011fitilmesi g\u00fc\u00e7 kaplumba\u011falarla kurulan ili\u015fki, uzun soluklu bir \u00e7abay\u0131 i\u015faret eder. Fig\u00fcr\u00fcn m\u00fczik aletlerinden yararlanmas\u0131 ise, d\u00f6n\u00fc\u015f\u00fcm\u00fcn aceleyle de\u011fil; incelik, s\u00fcreklilik ve zamanla m\u00fcmk\u00fcn olabilece\u011fini simgesel bir dille ortaya koyar.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row][vc_column][vc_column_text] Osman Hamdi Bey\u2019in Kaplumba\u011fa Terbiyecisi eseri, d\u00f6nemin k\u00fclt\u00fcrel yap\u0131s\u0131n\u0131 ve sanat\u00e7\u0131n\u0131n d\u00fc\u015f\u00fcnsel d\u00fcnyas\u0131n\u0131, \u00f6zellikle kaplumba\u011fa fig\u00fcrleri \u00fczerinden sembolik bir anlat\u0131mla yans\u0131t\u0131r. [\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”1#” title_font_size=”13″][vc_single_image image=”32887″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”] Osman Hamdi Bey, Kaplumba\u011fa Terbiyecisi\u2019ni 1906 ve 1907 y\u0131llar\u0131nda iki versiyon h\u00e2linde \u00e7al\u0131\u015ft\u0131. Ya\u011fl\u0131 boya tekni\u011fiyle yap\u0131lan eser, 222 \u00d7 122 cm \u00f6l\u00e7\u00fclerindedir. \u0130lk […]<\/p>\n","protected":false},"author":1,"featured_media":32886,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[4699,1281,453,847],"class_list":["post-32885","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat","tag-kaplumbaga-terbiyecisi","tag-osman-hamdi-bey","tag-resim","tag-ressam"],"_links":{"self":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts\/32885","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=32885"}],"version-history":[{"count":0,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts\/32885\/revisions"}],"wp:attachment":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=32885"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=32885"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=32885"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}