{"id":3557,"date":"2018-01-27T18:02:38","date_gmt":"2018-01-27T16:02:38","guid":{"rendered":"http:\/\/www.libridergi.org\/2015-en\/trans-2015-en\/lbr-0156"},"modified":"2018-02-09T10:09:56","modified_gmt":"2018-02-09T08:09:56","slug":"lbr-0156","status":"publish","type":"post","link":"https:\/\/www.libridergi.org\/en\/2018-en\/lbr-0156","title":{"rendered":"Ma\u011fara Ressamlar\u0131: D\u00fcnyan\u0131n \u0130lk Sanat\u00e7\u0131lar\u0131n\u0131n Gizemli D\u00fcnyas\u0131"},"content":{"rendered":"
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Ma\u011fara Ressamlar\u0131: D\u00fcnyan\u0131n \u0130lk Sanat\u00e7\u0131lar\u0131n\u0131n Gizemli D\u00fcnyas\u0131<\/h2>\n

Gregory CURTIS<\/h3>\n
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ISBN:<\/strong> 9786056727146
\nPage:<\/strong> 342
\nPublication Date:<\/strong>\u00a02017
\nLocation:<\/strong> \u0130stanbul
\nPublisher: <\/strong>Redingot Kitap<\/p><\/div>

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LIBRI<\/em>\u00a0III (2017) 131-134<\/strong>
\nDOI<\/strong>:\u00a010.20480\/lbr.2018026
\nReceived Date<\/strong>: 24.01.2018 | Acceptance Date<\/strong>: 25.01.2018
\nOnline Publication Date<\/strong>: 25.01.2018
\nCopyright \u00a9 Journal of Book Notices, Reviews and Translations, 2018<\/p>\n

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G.\u00a0CURTIS, Ma\u011fara Ressamlar\u0131: D\u00fcnyan\u0131n \u0130lk Sanat\u00e7\u0131lar\u0131n\u0131n Gizemli D\u00fcnyas\u0131<\/em>. \u0130stanbul 2017. Redingot Kitap, 342 sayfa (32 resim ve bir kroki ile birlikte). \u00c7ev. H. D\u0130KMEN. <\/strong>ISBN: 9786056727146<\/strong><\/p>\n

Gregory Curtis, ayl\u0131k bas\u0131lan bir dergide yirmi y\u0131l edit\u00f6rl\u00fck yapm\u0131\u015f olan Ameri\u00adkal\u0131 bir yazard\u0131r. Ma\u011fara Ressamlar\u0131, yazar\u0131n Fransa\u2019da k\u0131z\u0131yla yapm\u0131\u015f oldu\u011fu bir ma\u011fara ziyareti sonras\u0131nda uyanan merak\u0131n\u0131n bir \u00fcr\u00fcn\u00fc olarak 2006 y\u0131l\u0131n\u00adda The Cave Painters: Probing the Mysteries of the World’s First Artists<\/em> ad\u0131yla son halini alm\u0131\u015f ve bas\u0131lm\u0131\u015ft\u0131r. Yazar\u0131n ayr\u0131ca Melos\u2019ta bulunmu\u015f olan Ven\u00fcs heykelinin ser\u00fcvenini anlatan Disarmed: The Story of the Venus de Milo<\/em> adl\u0131 bir kitab\u0131 daha bulunmaktad\u0131r.<\/p>\n

Eser, \u0130\u00e7indekiler<\/em> ve Giri\u015f<\/em> k\u0131s\u0131mlar\u0131 ile ba\u015flamakta, akabinde on ayr\u0131 b\u00f6l\u00fcm ile devam etmekte ve de Te\u015fekk\u00fcr<\/em>, Notlar<\/em>, Kaynak\u00e7a<\/em>, Dizin<\/em>, \u0130l\u00fcstrasyon Listesi<\/em> k\u0131s\u0131mlar\u0131yla son bulmaktad\u0131r. Giri\u015f – \u00c7\u0131plak Ma\u011fara Adam\u0131<\/em> (11-25) b\u00f6l\u00fcm\u00fcn\u00adde yazar k\u0131z\u0131yla birlikte Dordogne\u2019deki Font-de-Gaume Ma\u011faras\u0131 gezisinden ve bu ma\u011farada g\u00f6rm\u00fc\u015f oldu\u011fu binlerce y\u0131ll\u0131k ma\u011fara resimlerinin kendisi \u00fczerinde b\u0131rakm\u0131\u015f oldu\u011fu etkiden bahsetmektedir. Kitab\u0131n\u0131n s\u0131radan okuyu\u00adculara da hitap etmesini ama\u00e7layan Curtis, kitapta kullanm\u0131\u015f oldu\u011fu kronolo\u00adjik d\u00f6nemleri, terimleri ve yaz\u0131m dilini de a\u00e7\u0131klamaktad\u0131r.<\/p>\n

Yazar Ba\u015ftan \u00c7\u0131kar\u0131c\u0131 Balta; \u0130yi Giyimli Yeni Gelenler<\/em> (25-58) ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131\u00adyan birinci b\u00f6l\u00fcmde ma\u011fara resimlerinin yap\u0131lm\u0131\u015f oldu\u011fu d\u00f6nemlerdeki ik\u00adlim, do\u011fa ve \u00e7evre ko\u015fullar\u0131n\u0131 de\u011ferlendirerek bu insanlar\u0131 resim yapmaya y\u00f6n\u00adlen\u00addiren geli\u015fmeler hakk\u0131nda yorumlarda bulunur. Homo Sapiens<\/em> t\u00fcr\u00fc\u00adn\u00fcn \u0130spanya ve Fransa\u2019y\u0131 ay\u0131ran Pirenelere var\u0131\u015f\u0131yla birlikte b\u00f6lgenin yerlileri olan Neandertallerin ya\u015fam\u0131ndaki de\u011fi\u015fiklikler ve say\u0131lar\u0131n\u0131n gittik\u00e7e azalarak yok olu\u015flar\u0131 da yazar\u0131n bu b\u00f6l\u00fcmde de\u011finmi\u015f oldu\u011fu konular aras\u0131ndad\u0131r.<\/p>\n

Bir Ku\u015fkucu Hatas\u0131n\u0131 Kabul Ediyor; Bayan Mary E. Boyle\u2019un Tutkusu<\/em> (59-103) adl\u0131 ikinci b\u00f6l\u00fcmde \u0130spanyol bir aristokrat ve bilim adam\u0131 olan Don Mar\u00adcelino Sanz de Sautuola\u2019n\u0131n, kendisinin Altamira\u2019da ke\u015ffetti\u011fi \u015fa\u015f\u0131rt\u0131c\u0131 resim\u00adlerin ger\u00e7ekli\u011fine inanmayan bilim insanlar\u0131 taraf\u0131ndan kar\u015f\u0131la\u015ft\u0131\u011f\u0131 tepkilere de\u011finilmektedir. Sautuola\u2019ya \u00f6nyarg\u0131l\u0131 bir \u015fekilde b\u00fcy\u00fck tepki g\u00f6stermi\u015f olan Cartailhac\u2019\u0131n yeni ma\u011fara ke\u015fiflerinin ard\u0131ndan Sautuoula\u2019n\u0131n hakl\u0131l\u0131\u011f\u0131n\u0131 kabul edi\u015fi ile kariyeri ba\u015flayacak olan Tarih \u00d6ncesinin Papas\u0131 Henri Breuil\u2019in \u00e7al\u0131\u015f\u00admalar\u0131 ve bu \u00e7al\u0131\u015fmalar\u0131 esnas\u0131nda onun yan\u0131nda olan Mary E. Boyle\u2019un tarih \u00f6ncesine tutkusu anlat\u0131lmaktad\u0131r.<\/p>\n

Asil Robot, Merakl\u0131 Bir K\u00f6pek; Ba\u015frahibin Da\u011fdaki Vaazlar\u0131<\/em> (104-118) adl\u0131 \u00fc\u00e7\u00fcn\u00adc\u00fc b\u00f6l\u00fcmde Curtis, 1940 y\u0131l\u0131nda halk aras\u0131ndaki s\u00f6ylentiler sebebiyle ha\u00adzine aramaya \u00e7\u0131kan d\u00f6rt maceraperest gen\u00e7ten biri olan Ravidat\u2019\u0131n k\u00f6pe\u011fi Robot ile beraber Lascaux Ma\u011faras\u0131\u2019n\u0131n ke\u015ffini anlatmaktad\u0131r. Ke\u015fif esnas\u0131n\u00adda Lascaux\u2019un bulundu\u011fu Montignac\u2019a \u00e7ok yak\u0131nda bulunan Breuil\u2019in bu ke\u015f\u00adfe m\u00fcdahil olmas\u0131 ve merakl\u0131 b\u00f6lge halk\u0131 ile ileti\u015fimi de yazar\u0131n b\u00f6l\u00fcmde ver\u00addi\u011fi bilgiler aras\u0131ndad\u0131r.<\/p>\n

B\u00fcy\u00fck Siyah \u0130nek; Bir At Nas\u0131l Resmedilir?<\/em> (119-153) ba\u015fl\u0131kl\u0131 d\u00f6rd\u00fcnc\u00fc b\u00f6\u00adl\u00fcmde yazar, Fransa\u2019da bilinen t\u00fcm Paleolitik sanat\u0131n onda birini i\u00e7erisinde bulundurarak hem sanat hem de arkeoloji alanlar\u0131nda en \u00f6nemli ma\u011fara olan Lascaux Ma\u011faras\u0131\u2019n\u0131n b\u00f6l\u00fcmlerine ve burada bulunan resim ile grav\u00fcr\u00adlere de\u011finmektedir. Lascaux Ma\u011faras\u0131\u2019ndaki resimlerin yorumu, tasvir edilen hayvanlar, resim yap\u0131m a\u015famalar\u0131 ve y\u00f6ntemleri yazar taraf\u0131ndan de\u011finilen di\u011fer konular aras\u0131ndad\u0131r. Curtis, Lascaux resimlerinin muhtemel anlamlar\u0131 \u00fcze\u00adrine d\u00fc\u015f\u00fcncelerini a\u00e7\u0131klar ve Felix Garrigou\u2019nun 1864\u2019te Niaux Ma\u011fa\u00adras\u0131\u2019nda kendisine sordu\u011fu soruyla ba\u015f ba\u015fa kal\u0131r: \u201cDuvarda resimler var. Ne anlama geliyor olabilirler?<\/em>\u201d<\/p>\n

Be\u015finci b\u00f6l\u00fcm Bizonlar Aras\u0131nda F\u0131rt\u0131nal\u0131 Bir Piyes; Alt\u0131n Oran <\/em>(154-169) ba\u015f\u00adl\u0131\u011f\u0131n\u0131 ta\u015f\u0131maktad\u0131r. Bu b\u00f6l\u00fcmde bir sanat tarih\u00e7isi ve entelekt\u00fcel olan Max Raphael\u2019in ma\u011fara resimlerini anlamland\u0131rma \u00e7abas\u0131 ele al\u0131nmaktad\u0131r. Rap\u00adhael\u2019e g\u00f6re ma\u011fara resimlerinin anlam\u0131 tek tek de\u011fil, ancak bir kompozisyon olarak ele al\u0131n\u0131rsa bulunabilir ve yine ona g\u00f6re Breuil ile di\u011fer tarih \u00f6ncesi ara\u015ft\u0131rmac\u0131lar\u0131n resimleri anlamland\u0131rmaya \u00e7al\u0131\u015f\u0131rken yard\u0131m\u0131na ba\u015fvurduk\u00adlar\u0131 etnografya onlar\u0131 sadece yanl\u0131\u015f y\u00f6ne s\u00fcr\u00fckleyebilir.<\/p>\n

Canl\u0131 Ama G\u00fcvenilmez Bir Yarat\u0131c\u0131l\u0131k; Tuhaf, Sembolik Oklar<\/em> (170-185) adl\u0131 alt\u0131nc\u0131 b\u00f6l\u00fcmde Raphael taraf\u0131ndan intihar\u0131ndan \u00f6nce temize \u00e7ekilmi\u015f olan otuz sayfal\u0131k bir m\u00fcsveddenin Anette Laming-Emperaire\u2019ye g\u00f6nderilmesi s\u00fc\u00adreci aktar\u0131lmaktad\u0131r. Akabinde, bu m\u00fcsveddenin Laming\u2019in d\u00fc\u015f\u00fcnceleri \u00fcze\u00adrin\u00adde etki etmesi sonucunda kendisinin kaleme alm\u0131\u015f oldu\u011fu Paleolitik Ta\u015f Re\u00adsimleme Sanat\u0131n\u0131n Anlam\u0131 <\/em>kitab\u0131ndaki tarih \u00f6ncesi ara\u015ft\u0131rma y\u00f6ntemi ara\u00ady\u0131\u015f\u0131na de\u011finilmektedir.<\/p>\n

Curtis \u00dc\u00e7 Di\u015fli M\u0131zrak \u015eeklindeki Ma\u011fara; \u00c7iftle\u015fme De\u011fil Birle\u015fim<\/em> (186-206) ba\u015fl\u0131\u011f\u0131n\u0131 verdi\u011fi yedinci b\u00f6l\u00fcmde Anette Laming\u2019in tez dan\u0131\u015fman\u0131 Andre Leroi-Gourhan\u2019\u0131n tarih \u00f6ncesi sanat\u0131 anlamak i\u00e7in \u00f6ne s\u00fcrd\u00fc\u011f\u00fc \u201cfig\u00fcrlerin d\u00fczenlenme bi\u00e7imleri ve gruplanmalar\u0131n\u0131n \u00f6nemli oldu\u011fu<\/em>\u201d d\u00fc\u015f\u00fcncesinin or\u00adta\u00adya \u00e7\u0131k\u0131\u015f\u0131n\u0131 ve ser\u00fcvenini anlatmaktad\u0131r. Gourhan\u2019\u0131n ma\u011fara fig\u00fcrlerini eril\/ di\u015fil gruplama d\u00fc\u015f\u00fcncelerinden ve arkeolojik ara\u015ft\u0131rmalara kazand\u0131rm\u0131\u015f ol\u00addu\u00ad\u011fu dikey kaz\u0131 yerine yatay katman kaz\u0131s\u0131n\u0131 uygulad\u0131\u011f\u0131 Pincevent\u2019teki Pale\u00adolitik ya\u015fam alan\u0131ndaki buluntulardan yola \u00e7\u0131karak Paleolitik ya\u015fam ile ilgili yorumlar\u0131na da b\u00f6l\u00fcmde de\u011finilmektedir.<\/p>\n

Bir Teknede \u00dc\u00e7 Erkek Karde\u015f; B\u00fcy\u00fcc\u00fc<\/em> (207-232) ba\u015fl\u0131kl\u0131 sekizinci b\u00f6l\u00fcmde, B\u00e9oug\u00ebn ailesine ait bir arazide bulunan Les Trois-Freres\u2019in, Kont Henri\u2019nin daha sonra \u00fc\u00e7\u00fc de tarihle ilgilenecek ve birer bilim insan\u0131 olacak o\u011fullar\u0131 tara\u00adf\u0131ndan ke\u015ffedili\u015f hik\u00e2yeleri anlat\u0131lmaktad\u0131r. Ayr\u0131ca \u00fc\u00e7 \u00e7ocuktan biri olan ve ken\u00addini ma\u011faralara adam\u0131\u015f olan Robert B\u00e9oug\u00ebn rehberli\u011finde Les Trois-Fre\u00adres\u2019i ziyaret eden Curtis\u2019in izlenimleri ve ba\u015fta B\u00fcy\u00fcc\u00fc<\/em> olmak \u00fczere onu et\u00adkileyen fig\u00fcrlerden bahsedilmektedir.<\/p>\n

Dokuzuncu b\u00f6l\u00fcm Bir Sualt\u0131 Ge\u00e7idi; Kaya \u00dczerindeki Kafatas\u0131<\/em> (233-282) ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131maktad\u0131r. Bu b\u00f6l\u00fcmde Fransa K\u00fclt\u00fcr Bakanl\u0131\u011f\u0131\u2019nda tarih \u00f6ncesi sanat alan\u0131nda dan\u0131\u015fmanl\u0131k mevkiine kadar ula\u015fm\u0131\u015f olan Jean Clottes\u2019in g\u00f6\u00adrev s\u00fcreci boyunca tarih \u00f6ncesi ara\u015ft\u0131rmalar ve ke\u015fifler ile ilgili olarak ba\u015f\u0131n\u00addan ge\u00e7enler konu edilmi\u015ftir. Akabinde, ge\u00e7mi\u015fi 27.000 y\u0131l geriye giden Cosquer Ma\u011faras\u0131\u2019n\u0131n ke\u015ffiyle, D. Vialou\u2019nun \u015fiddetli kar\u015f\u0131 \u00e7\u0131k\u0131\u015flar\u0131, kabul g\u00f6ren kronolojileri ke\u015ffi ile alt\u00fcst eden ve i\u00e7erisinde 32.000 y\u0131ll\u0131k fig\u00fcrler bu\u00adlun\u00adduran Chauvet Ma\u011faras\u0131, David Lewis-Williams ile Clottes\u2019in ma\u011fara fi\u00adg\u00fcr\u00adlerini dini bir rit\u00fcelin par\u00e7as\u0131 olarak yorumlamalar\u0131 ve bunu The Shamans of Prehistory <\/em>(Tarih \u00d6ncesi \u015eamanlar\u0131) eseriyle sonu\u00e7land\u0131rmalar\u0131 ele al\u0131n\u0131r.<\/p>\n

Tuhaf, Stilize Edilmi\u015f Kad\u0131nlar; D\u00fcnya Alt\u0131nda Ba\u015fka D\u00fcnya<\/em> (283-296) ba\u015f\u00adl\u0131kl\u0131 son ve onuncu b\u00f6l\u00fcmde Curtis, belirli zaman veya mek\u00e2nlara dair k\u00fc\u00e7\u00fck farkl\u0131l\u0131klara ra\u011fmen 20.000 y\u0131ldan fazla bir s\u00fcreyle resimli ma\u011fara \u00fcreten k\u00fcl\u00adt\u00fcr\u00adlerin yorumunu yapmaktad\u0131r.<\/p>\n

\u00c7al\u0131\u015fma, yazar\u0131n ara\u015ft\u0131rmalar\u0131 s\u0131ras\u0131nda kendisine destek verenlere \u015f\u00fck\u00adran\u00adlar\u0131n\u0131 sundu\u011fu Te\u015fekk\u00fcr<\/em> (297-299), dipnotlar\u0131n b\u00f6l\u00fcmlere g\u00f6re ayr\u0131lm\u0131\u015f halde bulundu\u011fu Notlar<\/em> (301-306), konu hakk\u0131nda zengin bir ara\u015ft\u0131rma listesi i\u00e7eren Kaynak\u00e7a <\/em>(307-331), detayl\u0131 arama yapmay\u0131 m\u00fcmk\u00fcn k\u0131lan Dizin<\/em> (333-340) ve kitapta bulunan foto\u011fraf, kroki ve \u00e7izimlerin listesi olan \u0130ll\u00fcstrasyon Listesi<\/em> (341-342) k\u0131s\u0131mlar\u0131yla son bulunmaktad\u0131r.<\/p>\n

Tarih \u00f6ncesi sanat\u0131n \u00f6nemli bir b\u00f6l\u00fcm\u00fc olan ma\u011fara resimleri konusunda son 150 y\u0131ll\u0131k ke\u015fifler, ara\u015ft\u0131rma ve eserler tarihine detayl\u0131ca de\u011finen bu eser \u00f6zellikle ma\u011fara resimlerinin anlam\u0131n\u0131 bulmaya \u00e7al\u0131\u015fan bilim insanlar\u0131n\u0131n \u00e7a\u00adl\u0131\u015f\u00admalar\u0131n\u0131n tarihsel bir kronolojisini ak\u0131c\u0131 bir anlat\u0131mla okuyuculara sunmak\u00adtad\u0131r. Hem k\u0131sa biyografiler hem g\u00f6rseller hem de 1860\u2019lardan g\u00fcn\u00fcm\u00fcze ka\u00addar verilmi\u015f eserlerin ana hatlar\u0131n\u0131 i\u00e7eren Ma\u011fara Ressamlar\u0131, d\u00f6nemine \u0131\u015f\u0131k tutacak bir eser niteli\u011findedir.<\/p>\n

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