{"id":2538,"date":"2026-11-10T12:32:01","date_gmt":"2026-11-10T12:32:01","guid":{"rendered":"https:\/\/atolyer10.com\/?p=2538"},"modified":"2026-11-10T12:32:02","modified_gmt":"2026-11-10T12:32:02","slug":"auguste-rodin-gordugunu-ciziyordu-cizdigini-gormuyordu","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=2538","title":{"rendered":"Auguste Rodin \u201cG\u00f6rd\u00fc\u011f\u00fcn\u00fc \u00e7iziyordu, \u00e7izdi\u011fini g\u00f6rm\u00fcyordu\u201d"},"content":{"rendered":"\n

Auguste Rodin, heykel \u00e7al\u0131\u015fmalar\u0131yla tan\u0131nan bir sanat\u00e7\u0131 olmas\u0131n\u0131n yan\u0131 s\u0131ra, insan bedenini ve hareketini ele al\u0131\u015f bi\u00e7imiyle dikkat \u00e7eken kapsaml\u0131 bir desen \u00fcretimine de sahiptir. Sanat\u00e7\u0131n\u0131n \u00f6zellikle 1890’l\u0131 y\u0131llar\u0131n ortalar\u0131ndan itibaren yo\u011funla\u015fan \u00e7izim prati\u011fi, insan bedenini ele al\u0131\u015f bi\u00e7imi bak\u0131m\u0131ndan dikkat \u00e7ekici bir de\u011fi\u015fime i\u015faret eder. Akademik sanat\u0131n al\u0131\u015f\u0131lm\u0131\u015f pozlar\u0131ndan uzakla\u015fan Rodin, canl\u0131 modellerin do\u011fal hareketlerini g\u00f6zlemlemeye y\u00f6nelir. Onun i\u00e7in \u00f6nemli olan, bedenin belirli bir pozunu kusursuz bi\u00e7imde k\u00e2\u011f\u0131da aktarmaktan \u00e7ok, hareketin kendisini ve o ana \u00f6zg\u00fc bedensel ifadeyi yakalamakt\u0131r.<\/p>\n\n\n\n

Rodin’in bu d\u00f6nemden itibaren geli\u015ftirdi\u011fi \u00e7al\u0131\u015fma bi\u00e7iminde dikkat \u00e7eken \u00f6zelliklerden biri, modelin hareketlerini g\u00f6zleriyle takip ederken k\u00e2\u011f\u0131da veya eline bakmadan \u00e7izim yapmas\u0131d\u0131r. Sanat\u00e7\u0131, kalemini modelin hareketleriyle e\u015f zamanl\u0131 olarak k\u00e2\u011f\u0131t \u00fczerinde hareket ettirir. B\u00f6ylece dikkatini \u00e7izginin teknik do\u011frulu\u011funa de\u011fil, bedenin o anki hareketine y\u00f6neltir. Mus\u00e9e Rodin’in Rodin. Les figures d’Eros ba\u015fl\u0131kl\u0131 sergi metninde de sanat\u00e7\u0131n\u0131n spontane hareketleri yakalamak i\u00e7in modelden g\u00f6zlerini ay\u0131rmadan \u00e7izim yapt\u0131\u011f\u0131 belirtilir.<\/p>\n\n\n\n

\"rodin-desen-1024x519<\/figure>\n\n\n\n

G\u00f6zlemden \u00c7izgiye: Rodin’in \u00c7al\u0131\u015fma Y\u00f6ntemi<\/h2>\n\n\n\n

John Tchalenko ve R. Chris Miall’\u0131n 2019 y\u0131l\u0131nda Leonardo dergisinde yay\u0131mlanan Auguste Rodin Draws Blind: An Art and Psychology Study ba\u015fl\u0131kl\u0131 ara\u015ft\u0131rmas\u0131, sanat\u00e7\u0131n\u0131n bu y\u00f6ntemini g\u00f6z-el koordinasyonu a\u00e7\u0131s\u0131ndan inceler. Ara\u015ft\u0131rmac\u0131lara g\u00f6re Rodin, modellerinden do\u011fal ve enerjik hareketler yapmalar\u0131n\u0131 ister; ard\u0131ndan bu hareketleri y\u00fcksek bir h\u0131zla, eline ve k\u00e2\u011f\u0131da bakmadan \u00e7izer. \u00c7izimlerinde zaman zaman anatomik oranlar\u0131n bozulmas\u0131na ve \u00e7izgilerin beklenmedik bi\u00e7imde yer de\u011fi\u015ftirmesine ra\u011fmen bedenin genel hareketi ve \u00e7izginin ak\u0131\u015f\u0131 korunur. Ara\u015ft\u0131rmac\u0131lar, sanat\u00e7\u0131n\u0131n bu ba\u015far\u0131s\u0131n\u0131 uzun y\u0131llar i\u00e7inde geli\u015ftirdi\u011fi g\u00f6zlem ve \u00e7izim becerisiyle ili\u015fkilendirir. <\/p>\n\n\n\n

Rodin’in kendi \u00e7al\u0131\u015fma y\u00f6ntemini a\u00e7\u0131klarken kulland\u0131\u011f\u0131 \u015fu s\u00f6zler de bu yakla\u015f\u0131m\u0131 anlamak a\u00e7\u0131s\u0131ndan \u00f6nemlidir:<\/p>\n\n\n\n

\n

\u00ab Je sais pourquoi mes dessins ont cette intensit\u00e9. C’est que je n’interviens pas. Entre la nature et le papier, j’ai supprim\u00e9 le talent. Je ne raisonne pas. Je me laisse faire\u2026 \u00bb<\/p>\n<\/blockquote>\n\n\n\n

T\u00fcrk\u00e7e \u00e7evirisi: \u201cDesenlerimin neden bu kadar yo\u011fun oldu\u011funu biliyorum. \u00c7\u00fcnk\u00fc m\u00fcdahale etmiyorum. Do\u011fa ile k\u00e2\u011f\u0131t aras\u0131ndan yetene\u011fi \u00e7\u0131kard\u0131m. Mant\u0131k y\u00fcr\u00fctm\u00fcyorum. Kendimi ak\u0131\u015fa b\u0131rak\u0131yorum\u2026\u201d<\/p>\n\n\n\n

(Jean\u00e8s, 1934, aktaran Tchalenko & Miall, 2019, s. 14)<\/em><\/p>\n\n\n\n

Sanat\u00e7\u0131 \u00e7izim s\u0131ras\u0131nda bilin\u00e7li teknik m\u00fcdahalelerden uzakla\u015fma anlay\u0131\u015f\u0131n\u0131 yans\u0131t\u0131r. Burada m\u00fcdahalesizlik, \u00e7izginin tamamen kontrols\u00fcz olmas\u0131 anlam\u0131na gelmez; aksine sanat\u00e7\u0131n\u0131n g\u00f6zlemledi\u011fi hareketi kesintiye u\u011fratmadan k\u00e2\u011f\u0131da aktarmaya \u00e7al\u0131\u015fmas\u0131n\u0131 ifade eder.<\/p>\n\n\n\n

Desenden Heykele: Bedenin Hareketini Bi\u00e7imlendirmek<\/h2>\n\n\n\n

Rodin’in \u00e7izim prati\u011fini heykel \u00e7al\u0131\u015fmalar\u0131ndan tamamen ba\u011f\u0131ms\u0131z de\u011ferlendirmek m\u00fcmk\u00fcn olmasa da bu iki \u00fcretim alan\u0131 aras\u0131ndaki ili\u015fkiyi do\u011fru kurmak gerekir. \u00d6zellikle Cehennem Kap\u0131s\u0131 (La Porte de l’Enfer) projesiyle birlikte canl\u0131 modelden \u00e7al\u0131\u015fma ve bedenin hareketini g\u00f6zlemleme, sanat\u00e7\u0131n\u0131n \u00fcretiminde \u00f6nemli bir yer edinmi\u015ftir. Tchalenko ve Miall, Rodin’in heykel \u00e7al\u0131\u015fmalar\u0131nda geli\u015ftirdi\u011fi do\u011frudan g\u00f6zlem ve bi\u00e7imlendirme anlay\u0131\u015f\u0131n\u0131n, daha sonra \u00e7izim prati\u011finde de etkili oldu\u011funu belirtir. <\/p>\n\n\n\n

Rodin’in \u00c7izim Y\u00f6ntemine Bilimsel Bir Bak\u0131\u015f: \u00d6\u011frencilerle Yap\u0131lan Deney<\/h2>\n\n\n\n

John Tchalenko ve R. Chris Miall’\u0131n 2019 y\u0131l\u0131nda Leonardo dergisinde yay\u0131mlanan ara\u015ft\u0131rmas\u0131, Rodin’in \u00e7izim y\u00f6ntemini g\u00f6rsel alg\u0131 ve el hareketleri aras\u0131ndaki ili\u015fki \u00fczerinden incelemektedir. Ara\u015ft\u0131rmac\u0131lar, sanat\u00e7\u0131n\u0131n desenlerinde kar\u015f\u0131la\u015f\u0131lan bi\u00e7im ve yerle\u015ftirme \u00f6zelliklerini daha iyi anlayabilmek amac\u0131yla sanat \u00f6\u011frencileriyle bir deney ger\u00e7ekle\u015ftirmi\u015ftir.<\/p>\n\n\n\n

Londra Sanat \u00dcniversitesi Camberwell Sanat Koleji’nde \u00f6\u011frenim g\u00f6ren yedi ikinci s\u0131n\u0131f \u00f6\u011frencisinin kat\u0131ld\u0131\u011f\u0131 deneyde, kat\u0131l\u0131mc\u0131lardan kendilerine g\u00f6sterilen karma\u015f\u0131k \u00e7izgi \u00f6rneklerini farkl\u0131 ko\u015fullarda kopyalamalar\u0131 istenmi\u015ftir. \u00d6\u011frencilerin g\u00f6z hareketleri \u00f6zel bir takip cihaz\u0131yla kaydedilmi\u015f, baz\u0131 denemelerde ise \u00e7izim yapt\u0131klar\u0131 ellerini ve k\u00e2\u011f\u0131d\u0131 g\u00f6rmeleri engellenmi\u015ftir. B\u00f6ylece ara\u015ft\u0131rmac\u0131lar, g\u00f6rsel geri bildirimin ortadan kalkmas\u0131n\u0131n \u00e7izim \u00fczerindeki etkilerini incelemi\u015ftir.<\/p>\n\n\n\n

Deney sonucunda \u00f6\u011frencilerin, g\u00f6rd\u00fckleri \u00e7izgilerin bi\u00e7imini b\u00fcy\u00fck \u00f6l\u00e7\u00fcde koruyabildikleri; ancak \u00e7izimin b\u00fcy\u00fckl\u00fc\u011f\u00fcn\u00fc ve y\u00f6n\u00fcn\u00fc ayn\u0131 do\u011frulukla aktaramad\u0131klar\u0131 g\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Bakmadan \u00e7izim yap\u0131lan ko\u015fulda elde edilen ortalama hata oranlar\u0131 \u015f\u00f6yledir:<\/p>\n\n\n\n

De\u011ferlendirilen \u00f6zellik<\/th>Ortalama hata<\/th><\/tr>
\u00c7izginin bi\u00e7imi<\/td>%1,3<\/td><\/tr>
\u00c7izimin \u00f6l\u00e7e\u011fi (b\u00fcy\u00fckl\u00fc\u011f\u00fc)<\/td>%18,6<\/td><\/tr>
\u00c7izimin y\u00f6n\u00fc<\/td>%6,9<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Kaynak: Tchalenko ve Miall (2019). Bakmadan \u00e7izim ko\u015fulundaki ortalama hata oranlar\u0131.<\/em><\/p>\n\n\n\n

Bu sonu\u00e7lar, \u00f6\u011frencilerin \u00e7izginin genel bi\u00e7imini takip etmekte ba\u015far\u0131l\u0131 olduklar\u0131n\u0131, ancak \u00e7izimi k\u00e2\u011f\u0131t \u00fczerinde do\u011fru b\u00fcy\u00fckl\u00fckte ve y\u00f6nde konumland\u0131rmakta zorland\u0131klar\u0131n\u0131 g\u00f6stermektedir. \u00d6zellikle \u00f6l\u00e7ek hatas\u0131n\u0131n di\u011fer hata t\u00fcrlerine k\u0131yasla daha y\u00fcksek olmas\u0131 dikkat \u00e7ekicidir. Ba\u015fka bir ifadeyle \u00f6\u011frenciler \u00e7izginin nas\u0131l ilerledi\u011fini do\u011fru aktarabilmi\u015f, ancak \u00e7izimin boyutlar\u0131n\u0131 ayn\u0131 do\u011frulukla koruyamam\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Ara\u015ft\u0131rmac\u0131lar bu bulgular\u0131 Rodin’in desenleriyle kar\u015f\u0131la\u015ft\u0131rd\u0131klar\u0131nda \u00f6nemli bir farkl\u0131l\u0131k g\u00f6zlemlemi\u015ftir. \u00d6\u011frencilerin \u00e7izimlerinde belirginle\u015fen \u00f6l\u00e7ek ve yerle\u015ftirme sorunlar\u0131, Rodin’in \u00e7al\u0131\u015fmalar\u0131nda ayn\u0131 d\u00fczeyde g\u00f6r\u00fclmemektedir. Ara\u015ft\u0131rmac\u0131lara g\u00f6re sanat\u00e7\u0131n\u0131n uzun y\u0131llar boyunca geli\u015ftirdi\u011fi \u00e7izim prati\u011fi ve kendine \u00f6zg\u00fc \u00e7al\u0131\u015fma stratejisi bu farkl\u0131l\u0131\u011f\u0131 a\u00e7\u0131klamaya yard\u0131mc\u0131 olabilir. B\u00f6ylece ara\u015ft\u0131rma, Rodin’in desenlerindeki hareket duygusunun yaln\u0131zca sanatsal bir sezgiyle de\u011fil, geli\u015fmi\u015f bir g\u00f6rsel-motor koordinasyonla da ili\u015fkili oldu\u011funu ortaya koymaktad\u0131r.<\/p>\n\n\n\n

Kaynak\u00e7a<\/h2>\n\n\n\n