{"id":5823,"date":"2021-03-04T22:09:01","date_gmt":"2021-03-05T04:09:01","guid":{"rendered":"http:\/\/circassiancenter.com\/tr\/?p=5823"},"modified":"2022-05-17T08:46:23","modified_gmt":"2022-05-17T13:46:23","slug":"rusyada-suprematizm-ve-konstruktivizm","status":"publish","type":"post","link":"https:\/\/www.circassiancenter.com\/tr\/rusyada-suprematizm-ve-konstruktivizm\/","title":{"rendered":"RUSYA\u2019DA SUPREMAT\u0130ZM ve KONSTR\u00dcKT\u0130V\u0130ZM"},"content":{"rendered":"

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Sgdf.biz<\/b><\/p>\n

1.D\u00fcnya Sava\u015f\u0131 ve Rus Devrimi\u2019nin kar\u0131\u015f\u0131k ortam\u0131nda, \u00c7ar\u2019\u0131n devrilmesinden, Rusya\u2019n\u0131n i\u00e7 sava\u015fa s\u00fcr\u00fcklenmesi ve Sovyetler Birli\u011fi’nin kurulmas\u0131na kadar ge\u00e7en zaman diliminde, Rusya\u2019da yarat\u0131c\u0131 sanat alan\u0131nda k\u0131sa s\u00fcren parlak bir devir ya\u015fanm\u0131\u015ft\u0131r. Bu d\u00f6nemdeki Rus sanat\u0131, yirminci y\u00fczy\u0131l\u0131n grafik tasar\u0131m ve tipografisinin bi\u00e7imlenmesinde, uluslar aras\u0131 boyutlarda etkili olmu\u015ftur. 1913 y\u0131l\u0131nda Kazimir Malevich saf renkler ve temel geometrik bi\u00e7imlerden olu\u015fan bir resim stili geli\u015ftirerek, Suprematizmi kurmu\u015ftur.Malevich \u00f6nce f\u00fct\u00fcrist ve k\u00fcbist \u00fcslupta \u00e7al\u0131\u015fmalar yapm\u0131\u015f, sonra temel geometrik bi\u00e7imlerin soyutlanmas\u0131ndan yola \u00e7\u0131karak, yeni ve yal\u0131n bir \u00fcslup yaratm\u0131\u015ft\u0131r. 1915\u2019te Petrograd\u2019da a\u00e7\u0131lan \u201c Son F\u00fct\u00fcrist Resim Sergisi 0,10\u201d da, beyaz zemin \u00fczerine boyanm\u0131\u015f siyah bir kareden ibaret olan tablosunu \u201cS\u0131f\u0131r Bi\u00e7im\u201d ad\u0131 alt\u0131nda sergilemi\u015ftir. Bu adland\u0131rmayla, yeni sanat\u0131n ge\u00e7mi\u015fle b\u00fct\u00fcn ili\u015fkilerini kopar\u0131p, s\u0131f\u0131rdan, hi\u00e7ten ba\u015flamas\u0131 gerekti\u011fini s\u00f6ylemek istemi\u015ftir. Eskiyle uzla\u015fmazl\u0131k ve gelenekleri y\u0131kma, o y\u0131llarda end\u00fcstri \u00e7a\u011f\u0131 bilincinin en karakteristik yan\u0131 olarak, sanatta bu \u015fekilde belirginle\u015fmekteydi. \u0130lk olarak k\u00fcbistlerin sanatta ortaya att\u0131klar\u0131 akl\u0131n soyutlama ve eleme g\u00fcc\u00fc Malevich gibi sanat\u00e7\u0131lar taraf\u0131ndan y\u0131kma ve yok etme etkinli\u011fine d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015ft\u00fcr.<\/p>\n

Nesneler d\u00fcnyas\u0131 Malevich\u2019e g\u00f6re, insan\u0131n kendi \u00e7\u0131kar\u0131 i\u00e7in tasarlam\u0131\u015f oldu\u011fu bir d\u00fcnyayd\u0131. \u201cS\u0131f\u0131r Bi\u00e7im\u201d yaln\u0131z sanat i\u00e7in de\u011fil, insanl\u0131k i\u00e7in de kurtulu\u015fun sembol\u00fcyd\u00fc, insanl\u0131k tarihinde nesnelerin, mal ve m\u00fclk h\u0131rs\u0131n\u0131n yok olaca\u011f\u0131 yeni bir \u00e7a\u011f\u0131n, her t\u00fcrl\u00fc \u00e7\u0131kar\u0131n, bencilli\u011fin \u00f6tesinde insanlara e\u015fitlik, karde\u015flik ve bar\u0131\u015f getirecek olan bir \u00e7a\u011f\u0131n habercisiydi. Malevich bu \u00e7a\u011fa \u201csuprematizm-Nesnesiz D\u00fcnya\u201d \u00e7a\u011f\u0131 demi\u015ftir. Suprematizm \u00e7a\u011f\u0131n\u0131n yarat\u0131c\u0131l\u0131k \u00e7a\u011f\u0131 olaca\u011f\u0131na ve suprematist sanat\u0131n insanlar\u0131 yaratma \u00f6zg\u00fcrl\u00fc\u011f\u00fcne kavu\u015fturacak tek yol oldu\u011funa inanm\u0131\u015ft\u0131r.<\/p>\n

Rus Devrimi\u2019nin sanata sosyal bir rol vermesi, Rusya\u2019daki sanat hareketlerine h\u0131z kazand\u0131rm\u0131\u015f, \u201cSolcu\u201d sanat\u00e7\u0131lar eski d\u00fczene ve tutucu g\u00f6rsel sanatlara kar\u015f\u0131 \u00e7\u0131karak, 1917\u2019de Bol\u015fevikleri desteklemek ve d\u00fcnyay\u0131 de\u011fi\u015ftirmek \u00fczere, kendilerini propagandan\u0131n hizmetine adam\u0131\u015flard\u0131r. 4 y\u0131l s\u00fcren bu yeni ya\u015fam\u0131n kurulma \u00e7al\u0131\u015fmalar\u0131 s\u0131ras\u0131nda, t\u00fcm \u00fclkedeki sanat okullar\u0131nda reform yap\u0131lm\u0131\u015f, m\u00fczeler in\u015fa edilmi\u015f ve ressam, akt\u00f6r, yazar ve bestecilerin yard\u0131m\u0131yla politik festivaller d\u00fczenlenmi\u015ftir. Ancak, 1921\u2019de Lenin\u2019in ilan etti\u011fi yeni ekonomi politikas\u0131 ile k\u00fclt\u00fcr politikas\u0131n\u0131n y\u00f6n\u00fc birden bire de\u011fi\u015fince i\u015f\u00e7i s\u0131n\u0131f\u0131 ile ayd\u0131nlar aras\u0131nda ilk s\u00fcrt\u00fc\u015fmeler ba\u015flam\u0131\u015f ve yeni kom\u00fcnist devlette sanat\u00e7\u0131n\u0131n konumunun yeniden tart\u0131\u015fma konusu olmas\u0131, sanat\u00e7\u0131lar aras\u0131nda derin bir ideolojik ayr\u0131l\u0131\u011f\u0131n do\u011fmas\u0131na neden olmu\u015ftur.<\/p>\n

Malevich ve Wassily Kandinsky gibi baz\u0131 sanat\u00e7\u0131lar, sanat\u0131n toplumsal gereksinimlerden ayr\u0131 tutularak temelde tinsel bir etkinlik olarak kalmas\u0131n\u0131n gerekti\u011fini savunmu\u015flard\u0131r. Vladamir Tatlin ve Alexander Rodschenko \u00f6nderli\u011findeki 25 sanat\u00e7\u0131 ise 1921\u2019de kar\u015f\u0131 g\u00f6r\u00fc\u015flerini ileri s\u00fcrerek, \u201csanat i\u00e7in sanat\u201d\u0131 reddetmi\u015fler ve end\u00fcstri tasar\u0131m\u0131, g\u00f6rsel ileti\u015fim ve uygulamal\u0131 sanatlarda \u00fcr\u00fcn vererek, kendilerini yeni kom\u00fcnist toplumun hizmetine adam\u0131\u015flard\u0131r. Bu Konstr\u00fcktivistler, sanat\u00e7\u0131y\u0131 gereksiz \u015feylerle u\u011fra\u015fmaktan vazge\u00e7ip, afi\u015f \u00fcretmeye \u00e7a\u011f\u0131rm\u0131\u015flar, kom\u00fcnist toplumun bir bireyi olarak sanat\u00e7\u0131n\u0131n eski s\u00fcpr\u00fcnt\u00fcleri ortadan kald\u0131rarak, yeni bir ya\u015fam kurmak i\u00e7in \u00e7al\u0131\u015fmalar yapmas\u0131 gerekti\u011fini savunmu\u015flard\u0131r.<\/p>\n

Bu g\u00f6r\u00fc\u015f\u00fc payla\u015fan sanat\u00e7\u0131lardan Aleksei Gan \u201cKonstr\u00fcktivizm\u201d bro\u015f\u00fcr\u00fcn\u00fc yazarak, Konstr\u00fcktivist ideolojiyi ilk defa form\u00fcle etme giri\u015fiminde bulunmu\u015ftur. Bu bro\u015f\u00fcrde soyut sanat\u00e7\u0131lar\u0131, geleneksel sanat\u00e7\u0131larla olan ba\u011flar\u0131n\u0131 koparamad\u0131klar\u0131ndan dolay\u0131 ele\u015ftirirken, Konstr\u00fcktivizmin, bir laboratuar \u00e7al\u0131\u015fmas\u0131ndan \u00e7\u0131karak, pratikteki uygulamalara y\u00f6neldi\u011fini s\u00f6ylemi\u015ftir. Gan, Konstr\u00fcktivizmin \u00fc\u00e7 ana ilkesini, mimarl\u0131k doku ve konstr\u00fcksiyon olarak belirlemi\u015ftir. Mimarl\u0131k, kom\u00fcnist ideolojinin g\u00f6rsel bi\u00e7ile b\u00fct\u00fcnle\u015fmesini, doku malzemelerinin do\u011fas\u0131n\u0131 ve end\u00fcstriyel \u00fcretimde nas\u0131l kullan\u0131ld\u0131klar\u0131n\u0131, konstr\u00fcksiyon ise, yarat\u0131c\u0131 s\u00fcreci sembolize ederek, g\u00f6rsel \u00f6rg\u00fctlemenin kurallar\u0131n\u0131 ara\u015ft\u0131rmaktad\u0131r.<\/p>\n

Konstr\u00fcktivist ideali en iyi kavrayan sanat\u00e7\u0131, ressam, mimar ve grafik tasar\u0131mc\u0131s\u0131 El Lissitzky olmu\u015ftur. Mimarl\u0131\u011f\u0131n matematiksel ve str\u00fckt\u00fcrel \u00f6zellikleri sanat\u00e7\u0131n\u0131n sanat\u0131n\u0131n temelini olu\u015fturmu\u015ftur.<\/p>\n

1919\u2019da Vitebesk Sanat Akademisi, Mimarl\u0131k ve Sanatlar b\u00f6l\u00fcm\u00fcn\u00fcn ba\u015fkanl\u0131\u011f\u0131n\u0131 yaparken bu b\u00f6l\u00fcmde ders veren Malevich\u2019ten b\u00fcy\u00fck oranda etkilenmi\u015ftir. El Lissitzky burada, PROUNS ad\u0131n\u0131 verdi\u011fi bir resim stili geli\u015ftirmi\u015ftir. El Lissitzky PROUNS\u2019da \u00fc\u00e7 boyutlu ill\u00fczyonlara yer vermi\u015ftir. Lisstzky, PROUNS\u2019lar\u0131 resimsel mimarl\u0131k aras\u0131nda bir ge\u00e7i\u015f noktas\u0131 olarak tan\u0131mlam\u0131\u015ft\u0131r. PROUNS\u2019lar, modern resmin bi\u00e7im ve mekan anlay\u0131\u015f\u0131n\u0131n tasar\u0131m sanatlar\u0131na uygulanmas\u0131n\u0131n \u00f6rnekleridir.<\/p>\n

Lissitzky, 1917 Devrimi\u2019ni insanl\u0131k i\u00e7in yeni bir ba\u015flang\u0131\u00e7 olarak g\u00f6rm\u00fc\u015ft\u00fcr. Onun g\u00f6r\u00fc\u015f\u00fcne g\u00f6re kom\u00fcnizm ve sosyal m\u00fchendislik yeni bir d\u00fczen kuracak, teknoloji toplumun gereksinimlerini kar\u015f\u0131layacak ve sanat\u00e7\u0131\/tasar\u0131mc\u0131-kendini konstr\u00fckt\u00f6r olarak adland\u0131rmaktayd\u0131-insanl\u0131\u011fa daha verimli bir toplum ve \u00e7evre sa\u011flamak i\u00e7in, sanatla teknolojiyi birle\u015ftirecekti. Bu idealizm, onun grafik tasar\u0131m \u00fczerine artan ilgiyle e\u011filmesine neden olmu\u015ftur. 19202de resimledi\u011fi \u201c\u0130ki Karenin \u00d6yk\u00fcs\u00fc\u201dadl\u0131 kitab\u0131n\u0131n sayfalar\u0131nda yer alan metnin, yerine g\u00f6re yatay, y\u00fckselen veya d\u00fc\u015fen sat\u0131rlar halinde d\u00fczenlenmi\u015f olmas\u0131 ve bu d\u00fczenlemenin \u00e7izgilerle desteklenmesi, suprematist etkileri g\u00f6stermektedir. Lissitzky\u2019nin \u201cBeyazlar\u0131 k\u0131rm\u0131z\u0131 kamayla vurun\u201d adl\u0131 politik afi\u015fi de yenilik\u00e7i \u00e7al\u0131\u015fmalar\u0131n\u0131n en \u00f6nemlilerinden biridir. Bu afi\u015fte suprematist tasar\u0131m elemanlar\u0131 politik sembollere d\u00f6n\u00fc\u015ft\u00fcr\u00fclerek, k\u0131rm\u0131z\u0131 ile Bol\u015fevikler, beyazla Kerenski\u2019nin kar\u015f\u0131 devrim g\u00fc\u00e7leri tan\u0131mlanm\u0131\u015ft\u0131r.<\/p>\n

1920\u2019lerin ba\u015f\u0131nda Sovyet h\u00fck\u00fcmeti, yeni Rus sanat\u0131na resmi destek sa\u011flamaya karar verince, uluslar aras\u0131 bir dergi \u00e7\u0131kararak kendi sanat\u0131n\u0131 tan\u0131tmak ve yaymak istedi. Edit\u00f6r olarak \u0130lya Ehrenburg ve El Lissitzky, \u00fc\u00e7 dilde yay\u0131nlanacak olan \u201cnesne\u201d dergisini \u00e7\u0131karma g\u00f6revini \u00fcstlendiler. El Lisstzky ve Ehrenburg i\u00e7in sanat, yeni nesneler yaratmak demekti; gen\u00e7, yarat\u0131c\u0131 sanat\u00e7\u0131 ve tasar\u0131mc\u0131lar\u0131n katk\u0131lar\u0131yla bu d\u00f6nemde Avrupa ve Rusya\u2019da yeni kolektif ve uluslar aras\u0131 bir \u00fcslup do\u011fmaktayd\u0131. Edit\u00f6rler bu d\u00fc\u015f\u00fcncelerin \u0131\u015f\u0131\u011f\u0131nda dergiye nesne ad\u0131n\u0131n verilmesini uygun buldular ve nesne dergisini farkl\u0131 uluslar\u0131n yeni sanat ve tasar\u0131m \u00fcr\u00fcnlerinin bulu\u015fma noktas\u0131 olarak ele ald\u0131lar.<\/p>\n

Lissitzky, karma\u015f\u0131k ileti\u015fim mesajlar\u0131 i\u00e7in, montaj ve fotomontaj tekniklerine ba\u015fvurmu\u015f, afi\u015flerde sayfa ve kapak d\u00fczenlemelerinde, bask\u0131 kompozisyonlar\u0131 ve fotografik g\u00f6r\u00fcnt\u00fcleri kurgu malzemesi olarak kullanm\u0131\u015ft\u0131r.<\/p>\n

Lissitzky\u2019nin Ddaist Hans Arp\u2019la birlikte haz\u0131rlad\u0131\u011f\u0131 \u201c1914-1924 aras\u0131 sanatlardaki izmler\u201d adl\u0131 kitab\u0131, 1920\u2019lerin en \u00f6nemli grafik tasar\u0131mlar\u0131ndan biri olmu\u015ftur. Lissitzky, bu tasar\u0131m\u0131nda metinler i\u00e7in \u00fc\u00e7 d\u00fc\u015fey s\u00fctun, birinci sayfa i\u00e7in \u00fc\u00e7 yatay s\u00fctun ve i\u00e7indekiler sayfas\u0131 i\u00e7in iki s\u00fctun kullanma \u015femas\u0131n\u0131 uygulayarak, sayfa d\u00fczenlemesinin mimari \u00e7at\u0131s\u0131n\u0131 meydana getirmi\u015ftir. Serifsiz yaz\u0131 ve siyah \u015feritlerin kullan\u0131lmas\u0131 da modernist stilin ilk ifadeleridir.<\/p>\n

1925 y\u0131l\u0131nda, kat\u0131ld\u0131\u011f\u0131 Berlin\u2019de a\u00e7\u0131lan \u201cBirinci Rus Sanat Sergisi\u201dnin Rus kontr\u00fcktivist sanat\u00e7\u0131lar\u0131n Rusya d\u0131\u015f\u0131nda a\u00e7t\u0131klar\u0131 ilk sergi olmas\u0131 ve Kontr\u00fcktivizmin Avrupa\u2019daki mevcut sanat ve tasar\u0131m ortam\u0131n\u0131 k\u00f6kl\u00fc bir \u015fekilde etkilemesi nedeniyle, \u00f6zel bir \u00f6nemi vard\u0131r. Almanya\u2019n\u0131n bu s\u0131ralarda Rus devrimi ve sava\u015f sonras\u0131 ortam\u0131nda, do\u011fulu ve bat\u0131l\u0131 ilerici d\u00fc\u015f\u00fcncelerin bulu\u015fma noktas\u0131 olmas\u0131 nedeniyle, sergiden sonra El Lissitzky Berlin\u2019e yerle\u015fmi\u015f, burada, De Stilij ve Bauhaus sanat\u00e7\u0131lar\u0131 kadar, dadaist ve di\u011fer konstr\u00fcktivistlerle de ili\u015fki kurarak, Almanlar\u0131n m\u00fckemmele varan bask\u0131 olanaklar\u0131 sayesinde tipografik d\u00fc\u015f\u00fcncelerini k\u0131sa zamanda geli\u015ftirmi\u015ftir. Fotomontaj, bask\u0131, grafik tasar\u0131m ve resim dallar\u0131n\u0131 i\u00e7eren geni\u015f bir yelpaze i\u00e7erisinde ger\u00e7ekle\u015ftirdi\u011fi \u00e7al\u0131\u015fmalar\u0131, Suprematizm ve Konstr\u00fcktivizm d\u00fc\u015f\u00fcncelerinin Bat\u0131 Avrupa\u2019ya ta\u015f\u0131nmas\u0131nda ba\u015fl\u0131ca kaynak olurken, bir\u00e7ok yay\u0131nda hem edit\u00f6r hem de tasar\u0131mc\u0131 olarak g\u00f6rev almas\u0131 da, daha geni\u015f kitleleri etkilemesine olanak vermi\u015ftir.<\/p>\n

Konstr\u00fcktivizmin en etkin temsilcilerinden biri olan Alexander Rodschenko ise, tipografi, montaj ve foto\u011frafla tasar\u0131m yapma konusunda \u00f6nc\u00fc olmu\u015ftur. Rodschenko sosyal g\u00f6r\u00fc\u015fleri do\u011frultusunda, bireysel ifadeler yerine, geni\u015f halk kitlelerine e\u011filip sorumluluk y\u00fcklenmek gerekti\u011fine inanarak, 1921\u2019de ressaml\u0131ktan vazge\u00e7mi\u015f ve tasar\u0131ma y\u00f6nelmi\u015ftir. Sanat\u0131n hangi g\u00f6r\u00fc\u015f alt\u0131nda ortaya \u00e7\u0131karsa \u00e7\u0131ks\u0131n, burjuva de\u011ferlerini ve kapitalist s\u00f6m\u00fcr\u00fcy\u00fc ifade eden \u00e7a\u011fd\u0131\u015f\u0131 bir u\u011fra\u015f oldu\u011funu savunarak, Eyl\u00fcl 1921\u2019de Moskova\u2019da a\u00e7\u0131lan 5.5=25 adl\u0131 sergide, saf k\u0131rm\u0131z\u0131, saf mavi ve saf sar\u0131 renkten olu\u015fan 3 tek renk tabloyu \u201cSon Resim\u201d ba\u015fl\u0131\u011f\u0131 alt\u0131nda sergileyerek, soyut sanat\u0131n \u00f6ld\u00fc\u011f\u00fcn\u00fc ilan etmi\u015ftir. Bu tarihten sonra g\u00f6rsel imgeler elde etmek istedi\u011fi zaman foto\u011fraf ve fotomontaja ba\u015fvurmu\u015ftur.<\/p>\n

Tasar\u0131mlar\u0131nda g\u00fc\u00e7l\u00fc geometrik konstr\u00fcksiyonlar, saf renklerden olu\u015fan geni\u015f alanlar ve \u00f6zl\u00fc, okunakl\u0131 yaz\u0131lar kullanan Rodschenko\u2019nun a\u011f\u0131r, siyah, serifsiz el yaz\u0131lar\u0131, daha sonra Sovyetler Birli\u011fi\u2019nde yayg\u0131n olarak kullan\u0131lan serifsiz harf karakterlerinin kayna\u011f\u0131 olmu\u015ftur.<\/p>\n

Devrimin ilk y\u0131llar\u0131nda, Sovyet h\u00fck\u00fcmeti ilerici sanat\u0131 desteklemi\u015ftir. Ancak 1922\u2019den ba\u015flayarak h\u00fck\u00fcmet, ilerici sanat\u00e7\u0131lar\u0131 \u015f\u00fcpheyle kar\u015f\u0131layarak, onlar\u0131 \u201cKapitalist Kozmopolitanizm\u201dile su\u00e7lam\u0131\u015f ve sosyal ger\u00e7ek\u00e7i resim sanat\u0131n\u0131 te\u015fvik etme karar\u0131 alm\u0131\u015ft\u0131r. Bununla beraber Konstr\u00fcktivizm Sovyet grafik ve end\u00fcstri tasar\u0131m\u0131n\u0131 bir s\u00fcre daha etkilemeye devam etmi\u015f ancak daha sonraki sanatsal yenilikler, Bat\u0131da geli\u015fme ortam\u0131 bulabilmi\u015flerdir.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Sgdf.biz 1.Dünya Savaşı ve Rus Devrimi’nin karışık ortamında, Çar’ın devrilmesinden, Rusya’nın iç savaşa sürüklenmesi ve Sovyetler Birliği’nin kurulmasına kadar geçen zaman diliminde, Rusya’da yaratıcı sanat alanında kısa süren parlak bir devir yaşanmıştır. Bu dönemdeki Rus sanatı, yirminci yüzyılın grafik tasarım ve tipografisinin biçimlenmesinde, uluslar arası boyutlarda etkili olmuştur. 1913 yılında Kazimir Malevich saf renkler ve 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