{"id":1430,"date":"2026-10-13T20:54:27","date_gmt":"2026-10-13T20:54:27","guid":{"rendered":"https:\/\/atolyer10.com\/?p=1430"},"modified":"2026-10-13T21:33:53","modified_gmt":"2026-10-13T21:33:53","slug":"1917-ekim-devrimi-sonrasinda-rus-avangardi-sanat-ve-toplumsal-donusum","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=1430","title":{"rendered":"1917 Ekim Devrimi Sonras\u0131nda Rus Avangard\u0131: Sanat ve Toplumsal D\u00f6n\u00fc\u015f\u00fcm"},"content":{"rendered":"\n

Modernizm tek bir co\u011frafyaya \u00f6zg\u00fc olmad\u0131\u011f\u0131 gibi, yaln\u0131zca Bat\u0131l\u0131la\u015fma ekseninde \u015fekillenmi\u015f bir olgu da de\u011fildir. Bunun en somut \u00f6rneklerinden biri, 1917 Ekim Devrimi<\/em> sonras\u0131nda tarih sahnesine \u00e7\u0131kan ve T\u00fcrk e\u011fitim tarihindeki K\u00f6y Enstit\u00fcleri modeline de ilham kayna\u011f\u0131 olan Rus Avangard\u0131 hareketidir. Devrim sonras\u0131nda hem sanat\u00e7\u0131lar\u0131n hem de siyaset\u00e7ilerin odakland\u0131\u011f\u0131 temel soru, devrim sanat\u0131n\u0131n ne oldu\u011fu \u00fczerine kurulmu\u015ftur. Bu soru \u00e7er\u00e7evesinde devrim sanat\u0131 bir yandan sanat\u0131n ontolojik yap\u0131s\u0131n\u0131n tart\u0131\u015f\u0131lmas\u0131, di\u011fer yandan ise sanat\u0131n yeniden tan\u0131mlanmas\u0131, y\u00f6netimi ve kitlelere yay\u0131lmas\u0131 olmak \u00fczere iki ana eksende ele al\u0131nm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Devrim, M\u00fcze Anlay\u0131\u015f\u0131 ve Sanat\u0131n \u00d6zerkli\u011fi<\/h3>\n\n\n\n

Devrim sonras\u0131 d\u00f6nemde \u00c7arl\u0131k Rusyas\u0131’ndan kalan sanat eserlerine el konularak Rus avangartlar\u0131na teslim edilmi\u015ftir. Ancak avangart sanat\u00e7\u0131lar ile Sovyet y\u00f6netimi aras\u0131nda m\u00fcze anlay\u0131\u015f\u0131na dair kavramsal bir gerilim ya\u015fanm\u0131\u015ft\u0131r. Avangart sanat\u00e7\u0131lar, m\u00fczelerin ge\u00e7mi\u015fin kutsallar\u0131n\u0131 sergileyerek ge\u00e7mi\u015f ile gelecekteki ba\u011flar\u0131 kopartt\u0131\u011f\u0131n\u0131 ve toplumu k\u0131s\u0131tlad\u0131\u011f\u0131n\u0131 savunarak geleneksel m\u00fcze yap\u0131s\u0131na kar\u015f\u0131 \u00e7\u0131km\u0131\u015flard\u0131r. Lenin ise devrimin tarihsel birikimini korumak ad\u0131na m\u00fczelerin mezarl\u0131k oldu\u011fu<\/em> y\u00f6n\u00fcndeki sloganlara kar\u015f\u0131 durmu\u015f ve ge\u00e7mi\u015f mirasa sahip \u00e7\u0131km\u0131\u015ft\u0131r. Kazimir Malevi\u00e7\u2019in sanatla toplumu haz\u0131rlamam\u0131\u015f olsalard\u0131 devrimin ger\u00e7ekle\u015ftirilemeyece\u011fi y\u00f6n\u00fcndeki s\u00f6ylemi mecliste kar\u015f\u0131l\u0131k bulmu\u015ftur. Bunun \u00fczerine Lenin, m\u00fczelerin ve sanat kurumlar\u0131n\u0131n y\u00f6netimini ironik bi\u00e7imde bu yap\u0131lara en sert ele\u015ftirileri getiren avangart sanat\u00e7\u0131lara emanet etmi\u015ftir.<\/p>\n\n\n\n

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\n
\"Klinom_Krasnym_Bej_Belych-1024x819
Beyazlar\u0131 K\u0131rm\u0131z\u0131 Kama ile Ez
El Lissitzky taraf\u0131ndan 1919 y\u0131l\u0131nda yap\u0131lm\u0131\u015f bir litografik Bol\u015fevik propaganda posteridir. Posterde araya giren k\u0131rm\u0131z\u0131 kama, Rus \u0130\u00e7 Sava\u015f\u0131 s\u0131ras\u0131nda rakipleri olan Beyaz hareketi alt eden ve yenilgiye u\u011fratan Bol\u015fevikleri sembolize eder.<\/figcaption><\/figure>\n<\/div>\n\n\n

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Kurumsal Mek\u00e2nlar\u0131n Laboratuvara D\u00f6n\u00fc\u015fmesi<\/h3>\n\n\n\n

1917 sonras\u0131nda m\u00fczeler, akademiler, salonlar, sergiler, malikaneler ve mimari yap\u0131lar avangart sanat\u00e7\u0131lar taraf\u0131ndan yeniden tart\u0131\u015fmaya a\u00e7\u0131lm\u0131\u015ft\u0131r. Bu mek\u00e2nlar\u0131n tamam\u0131 yeni d\u00f6nemin aray\u0131\u015flar\u0131na hizmet eden b\u00fcy\u00fck birer laboratuvara d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015f ve buralarda estetik ile toplumsal deneyler ger\u00e7ekle\u015ftirilmi\u015ftir. Sanat\u0131 burjuvazinin tekelinden \u00e7\u0131karma ve sokakla bulu\u015fturma arzusu, d\u00f6nemin a\u011f\u0131r ekonomik krizlerine ra\u011fmen b\u00fcy\u00fck bir \u00fcretim ivmesi do\u011furmu\u015ftur. D\u00f6nem boyunca 58 farkl\u0131 sergi d\u00fczenlenmi\u015f ve 1926 eser bir araya getirilmi\u015ftir. K\u0131rsal kesimlerde m\u00fczeler kurularak yerel halk\u0131n sanatsal s\u00fcre\u00e7lere kat\u0131l\u0131m\u0131 sa\u011flanm\u0131\u015ft\u0131r. T\u00fcm sanatsal \u00fcretimlerde temel hedef, tarihi ve toplumsal belle\u011fi koruyarak halk\u0131n kendi belle\u011fini in\u015fa etmesine imk\u00e2n tan\u0131mak olmu\u015ftur.<\/p>\n\n\n\n

Malevi\u00e7 ve Tatlin<\/h3>\n\n\n\n

Rus Avangard\u0131 i\u00e7erisinde sanat\u0131n toplumsal ve bi\u00e7imsel rol\u00fcne dair iki g\u00fc\u00e7l\u00fc yakla\u015f\u0131m \u00f6ne \u00e7\u0131kar. Kazimir Malevi\u00e7 ve onun \u00f6nc\u00fcl\u00fck etti\u011fi S\u00fcprematizm<\/em> ak\u0131m\u0131, insan\u0131n bilincinin \u00f6zg\u00fcrle\u015ftirilmesi gerekti\u011fini savunur. Siyah Kare isimli eseriyle simgele\u015fen bu anlay\u0131\u015fa g\u00f6re kutsalla\u015ft\u0131r\u0131lm\u0131\u015f geleneksel eserler ger\u00e7e\u011fin sadece birer taklididir ve insan\u0131 hakikate ula\u015ft\u0131rmaz. \u0130leriye bakabilmek i\u00e7in biat k\u00fclt\u00fcr\u00fc ve iktidarlar\u0131n kurgulad\u0131\u011f\u0131 kal\u0131pla\u015fm\u0131\u015f toplumsal senaryolar reddedilmeli, insan kendi ger\u00e7ekli\u011finin pe\u015finden gitmelidir. Sanat, toplumun mevcut isteklerini vererek geli\u015femez, aksine toplumun mant\u0131\u011f\u0131na kar\u015f\u0131 sava\u015f a\u00e7arak g\u00fcndelik hayat\u0131 yeniden in\u015fa etmelidir. Malevi\u00e7 bu noktada sanat\u0131n bilim ve felsefenin \u00f6tesinde kendini var eden ba\u011f\u0131ms\u0131z bir bilgi alan\u0131 ve hatta bu disiplinleri kapsayan \u00fcst bir \u00e7at\u0131 oldu\u011funu \u00f6ne s\u00fcrer.<\/p>\n\n\n\n

Di\u011fer yanda Vladimir Tatlin ve Konstr\u00fcktivizm<\/em> anlay\u0131\u015f\u0131 yer al\u0131r. Tatlin sanatta kozmik ve mekanik uyumu savunur. Estetik alg\u0131n\u0131n mekanik ili\u015fkiler \u00fczerinden bi\u00e7imlenece\u011fini belirterek \u00fcretim ara\u00e7lar\u0131na y\u00f6nelmi\u015ftir. Sovyet Rusya\u2019n\u0131n itici g\u00fcc\u00fc olan sanayiyi g\u00fcndelik ya\u015famla b\u00fct\u00fcnle\u015ftirmi\u015f ve toplumu k\u00fclt\u00fcrel anlamda d\u00f6n\u00fc\u015ft\u00fcrecek yeg\u00e2ne g\u00fcc\u00fcn mekanik yap\u0131 oldu\u011funu ileri s\u00fcrm\u00fc\u015ft\u00fcr. Tatlin\u2019e g\u00f6re yeni bir sanat anlay\u0131\u015f\u0131 ancak yerle\u015fik t\u00fcm bilgilere kar\u015f\u0131 \u00e7\u0131k\u0131labildi\u011fi zaman m\u00fcmk\u00fcnd\u00fcr. Y\u00f6ntemsel farkl\u0131l\u0131klar\u0131na ra\u011fmen hem Tatlin hem de Malevi\u00e7, sanat\u0131n \u00f6zerkli\u011fi ve geleneksel m\u00fcze anlay\u0131\u015f\u0131na kar\u015f\u0131tl\u0131k hususunda ortak bir paydada birle\u015fmektedir.<\/p>\n\n\n\n

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\n
\"Kazimir_Malevich_1915_Black_Suprematic_Square_oil_on_linen_canvas_79.5_x_79.5_cm_Tretyakov_Gallery_Moscow-1024x1024
Kazimir Malevi\u00e7 taraf\u0131ndan 1915 y\u0131l\u0131nda yap\u0131lan Siyah Kare, Keten tuval \u00fczerine ya\u011fl\u0131 boya olup 79.5 x 79.5 cm boyutlar\u0131ndad\u0131r.
Eser zamanla \u00e7atlam\u0131\u015f olup ve \u00e7atlaklardan g\u00f6r\u00fcnen renkler, yeni yorum ve ele\u015ftiriler getirmi\u015ftir.<\/figcaption><\/figure>\n<\/div>\n\n\n

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\n
\"Tatlins_Tower_maket_1919_year-766x1024
Vladimir Tatlin taraf\u0131ndan tasarlanan Tatlin Kulesi veya \u00dc\u00e7\u00fcnc\u00fc Enternasyonal An\u0131t\u0131, 1917 Ekim Devrimi\u2019nin ard\u0131ndan 1919-1920 y\u0131llar\u0131nda Komintern\u2019in (\u00dc\u00e7\u00fcnc\u00fc Enternasyonal) karargah\u0131 ve an\u0131t\u0131 olmas\u0131 amac\u0131yla planlanm\u0131\u015f ancak mali ve pratik nedenlerle asla in\u015fa edilmemi\u015f \u00fctopik bir konstr\u00fcktivist mimari projedir.<\/figcaption><\/figure>\n<\/div>\n\n\n

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Tiyatro ve Performans\u0131n Sokakla Bulu\u015fmas\u0131<\/h3>\n\n\n\n

Devrim sonras\u0131 s\u00fcre\u00e7te tiyatro, toplumsal d\u00f6n\u00fc\u015f\u00fcm\u00fcn en stratejik alanlar\u0131ndan biri haline gelmi\u015ftir. G\u00fcndelik hayat\u0131n do\u011frudan sanata d\u00f6n\u00fc\u015ft\u00fcr\u00fcld\u00fc\u011f\u00fc bu d\u00f6nemde geleneksel sahne ve platformlar kald\u0131r\u0131larak seyirci ile oyuncu aras\u0131ndaki mesafe s\u0131f\u0131rlanm\u0131\u015f, kat\u0131l\u0131mc\u0131 bir ortam yarat\u0131lm\u0131\u015ft\u0131r. Profesyonel tiyatrolar yerine halk\u0131n kendi hayat\u0131n\u0131 yaz\u0131p oynayabildi\u011fi amat\u00f6r tiyatrolar te\u015fvik edilmi\u015ftir. \u00c7\u00fcnk\u00fc avangart anlay\u0131\u015fa g\u00f6re insan, g\u00fcndelik ya\u015fam\u0131 sorgulayabildi\u011fi \u00f6l\u00e7\u00fcde \u00f6zg\u00fcrd\u00fcr. Nikolai Evreinov\u2019un<\/em> y\u00f6netti\u011fi K\u0131\u015fl\u0131k Saray\u0131\u2019n\u0131n Bask\u0131n\u0131 adl\u0131 performans bu anlay\u0131\u015f\u0131n zirve noktas\u0131d\u0131r. D\u00f6nemin ger\u00e7ek olaylar\u0131n\u0131 birebir canland\u0131ran ve kurgu olmayan bu devasa a\u00e7\u0131k hava performans\u0131nda 8 bin ki\u015fi rol alm\u0131\u015f ve 100 bin ki\u015filik bir seyirci kitlesi bu tarihsel tan\u0131kl\u0131\u011fa d\u00e2hil edilmi\u015ftir.<\/p>\n\n\n\n

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\n
\"Stormningen_av_vinterpalatset-1024x576
1920 y\u0131l\u0131ndaki K\u0131\u015fl\u0131k Saray\u0131’n\u0131n Bask\u0131n\u0131 isimli g\u00f6steriden a\u011f\u0131r \u015fekilde r\u00f6tu\u015flanm\u0131\u015f bir sahne. Bu foto\u011fraf, 1922’den itibaren hem Rusya’da hem de uluslararas\u0131 alanda bir\u00e7ok yay\u0131nda olaylar\u0131n otantik bir tasviri olarak sunulmu\u015ftur.<\/figcaption><\/figure>\n<\/div>\n\n\n

<\/p>\n\n\n\n

Sonu\u00e7 olarak 1917 Ekim Devrimi sonras\u0131nda Rus Avangard\u0131, sanat\u0131 saraylardan, burjuvazinin tekelindeki galerilerden ve edilgen m\u00fcze duvarlar\u0131ndan \u00e7\u0131kararak do\u011frudan hayat\u0131n, \u00fcretimin ve soka\u011f\u0131n merkezine yerle\u015ftirmi\u015ftir. Malevi\u00e7\u2019in zihinsel \u00f6zg\u00fcrle\u015fmeyi hedefleyen soyutlamac\u0131 yakla\u015f\u0131m\u0131 ile Tatlin\u2019in sanayiyi ve g\u00fcndelik ya\u015fam\u0131 d\u00f6n\u00fc\u015ft\u00fcrmeyi ama\u00e7layan materyalist anlay\u0131\u015f\u0131, y\u00f6ntemsel olarak ayr\u0131\u015fsa da ayn\u0131 devrimci ideale hizmet etmi\u015ftir. Sanat\u0131 kitlelerle bulu\u015fturan, mek\u00e2n\u0131 laboratuvara d\u00f6n\u00fc\u015ft\u00fcren ve bireyi izleyici olmaktan \u00e7\u0131kar\u0131p kendi tarihinin par\u00e7as\u0131 k\u0131lan bu radikal deneyim, yaln\u0131zca Sovyet co\u011frafyas\u0131yla s\u0131n\u0131rl\u0131 kalmam\u0131\u015ft\u0131r. T\u00fcrk e\u011fitim tarihindeki K\u00f6y Enstit\u00fcleri modelinde oldu\u011fu gibi, toplumu \u00fcretim ve k\u00fclt\u00fcr yoluyla a\u015fa\u011f\u0131dan yukar\u0131ya d\u00f6n\u00fc\u015ft\u00fcrmek isteyen pek \u00e7ok modernist aray\u0131\u015fa da ilham kayna\u011f\u0131 olmu\u015ftur.<\/p>\n\n\n\n

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Kaynak\u00e7a<\/h4>\n\n\n\n

Marmara \u00dcniversitesi Atat\u00fcrk E\u011fitim Fak\u00fcltesi Resim \u0130\u015f \u00d6\u011fretmenli\u011fi B\u00f6l\u00fcm\u00fc 2024-2025 d\u00f6nemi m\u00fcfredat\u0131nda, Prof. Dr. \u0130nsel \u0130nal’\u0131n Modern Sanat isimli dersinde ald\u0131\u011f\u0131m notlarla derlenmi\u015ftir.<\/p>\n\n\n\n

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Foto\u011fraflar<\/h4>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/The_Storming_of_the_Winter_Palace#\/media\/File:Stormningen_av_vinterpalatset.jpg<\/a><\/p>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/Beat_the_Whites_with_the_Red_Wedge#\/media\/File:Klinom_Krasnym_Bej_Belych.JPG<\/a><\/p>\n\n\n\n

https:\/\/tr.wikipedia.org\/wiki\/Siyah_Kare#\/media\/Dosya:Kazimir_Malevich,_1915,_Black_Suprematic_Square,_oil_on_linen_canvas,_79.5_x_79.5_cm,_Tretyakov_Gallery,_Moscow.jpg<\/a><\/p>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/Tatlin%27s_Tower#\/media\/File:Tatlin’s_Tower_maket_1919_year.jpg<\/a><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Modernizm tek bir co\u011frafyaya \u00f6zg\u00fc olmad\u0131\u011f\u0131 gibi, yaln\u0131zca Bat\u0131l\u0131la\u015fma ekseninde \u015fekillenmi\u015f bir olgu da de\u011fildir. Bunun en somut \u00f6rneklerinden biri, 1917 Ekim Devrimi sonras\u0131nda tarih sahnesine \u00e7\u0131kan ve T\u00fcrk e\u011fitim tarihindeki K\u00f6y Enstit\u00fcleri modeline de ilham kayna\u011f\u0131 olan Rus Avangard\u0131 hareketidir. Devrim sonras\u0131nda hem sanat\u00e7\u0131lar\u0131n hem de siyaset\u00e7ilerin odakland\u0131\u011f\u0131 temel soru, devrim sanat\u0131n\u0131n ne oldu\u011fu […]<\/p>\n","protected":false},"author":7,"featured_media":1434,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[84],"tags":[29,213,96,216,166,215],"class_list":["post-1430","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gorsel-sanatlar","tag-avangart","tag-kazimir-malevic","tag-muze","tag-rus-avangardi","tag-sanat-ve-tarih","tag-vladimir-tatlin"],"_links":{"self":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1430","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1430"}],"version-history":[{"count":9,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1430\/revisions"}],"predecessor-version":[{"id":1449,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1430\/revisions\/1449"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/media\/1434"}],"wp:attachment":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1430"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1430"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1430"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}