{"id":3046,"date":"2026-07-06T23:53:54","date_gmt":"2026-07-06T20:53:54","guid":{"rendered":"https:\/\/erenyesilyurt.com\/?p=3046"},"modified":"2026-07-07T00:14:28","modified_gmt":"2026-07-06T21:14:28","slug":"alexander-adams-kutsal-olan-ile-sanatsal-olanin-birbirinden-ayrilmasi-gelenegin-tasfiyesi-sanatcilari-akintida-basibos-birakti","status":"publish","type":"post","link":"https:\/\/erenyesilyurt.com\/index.php\/2026\/07\/06\/alexander-adams-kutsal-olan-ile-sanatsal-olanin-birbirinden-ayrilmasi-gelenegin-tasfiyesi-sanatcilari-akintida-basibos-birakti\/","title":{"rendered":"Alexander Adams: Kutsal olan ile sanatsal olan\u0131n birbirinden ayr\u0131lmas\u0131 \u2014gelene\u011fin tasfiyesi\u2014 sanat\u00e7\u0131lar\u0131 ak\u0131nt\u0131da ba\u015f\u0131bo\u015f b\u0131rakt\u0131"},"content":{"rendered":"\n

\u00c7a\u011fda\u015f sanat d\u00fcnyas\u0131n\u0131n i\u00e7ine d\u00fc\u015ft\u00fc\u011f\u00fc k\u00f6ks\u00fczl\u00fc\u011f\u00fc, kurals\u0131zl\u0131\u011f\u0131 ve estetik \u00e7\u00f6z\u00fclmeyi Britanyal\u0131 ressam, yazar ve ele\u015ftirmen Alexander Adams<\/a> ile konu\u015ftuk. Culture War<\/em> ve Iconoclasm, Identity Politics and the Erasure of History<\/em> gibi kitaplar\u0131yla sanat kurumlar\u0131n\u0131n entelekt\u00fcel \u00e7\u00f6k\u00fc\u015f\u00fcn\u00fc ve \u201ciptal k\u00fclt\u00fcr\u00fc\u201dn\u00fc \u00f6d\u00fcn vermeden ele\u015ftiren Adams, ayn\u0131 zamanda Vermeer ve Leonardo gibi b\u00fcy\u00fck ustalar \u00fczerine kaleme ald\u0131\u011f\u0131 monografilerle de tan\u0131n\u0131yor.<\/p>\n\n\n\n

R\u00f6nesans\u2019\u0131n estetik ve manevi ufkundan Sanayi Devrimi\u2019nin mekanik \u00fcretimine ve g\u00fcn\u00fcm\u00fcz\u00fcn dijital \u00e7a\u011f\u0131na kadar, “sanat” kavram\u0131 radikal bir d\u00f6n\u00fc\u015f\u00fcm ge\u00e7irdi. Ancak bug\u00fcn, sanat\u0131n \u00fczerine in\u015fa edilebilece\u011fi nesnel, estetik veya a\u015fk\u0131n zemin tamamen \u00e7\u00f6z\u00fclm\u00fc\u015f durumda. Sizce \u00e7a\u011fda\u015f sanat\u0131 ge\u00e7mi\u015fteki radikal kopu\u015flardan ay\u0131ran ve onu mutlak bir “zeminsizlik” veya “bo\u015fluk” durumuna iten temel dinamik nedir? Sanat kendi ontolojik temelini mi kaybetti, yoksa bu temel kas\u0131tl\u0131 olarak m\u0131 tasfiye edildi?<\/em><\/strong><\/p>\n\n\n

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Bence \u00e7\u00f6z\u00fclm\u00fc\u015f olan ve bug\u00fcn sanat \u00fczerinde felaket bir etki yaratan kilit bir unsuru tespit etmi\u015fsiniz. Optik ve materyalizmle ilgilenen sanat\u00e7\u0131lar \u2014diyelim ki Empresyonistler, Post-Empresyonistler, K\u00fcbistler ve onlar\u0131 takiben soyutlamaya y\u00f6nelenler\u2014 ve siyasi bir motivasyona sahip olanlar (Dadaistler ve Sosyalistler) i\u00e7in, sanat\u0131n manevi i\u015flevini soyup \u00e7\u0131karma d\u00fcrt\u00fcs\u00fc vard\u0131. Sanattaki manevi ve a\u015fk\u0131n olan\u0131, bask\u0131c\u0131 bir ideolojik sistemin arac\u0131 olarak g\u00f6rd\u00fc\u011f\u00fcn\u00fczde, do\u011fal olarak ona kar\u015f\u0131 sava\u015f\u0131rs\u0131n\u0131z. Ayr\u0131ca, daha \u00f6nce ne kadar yararl\u0131 yap\u0131 ve fikri yerle bir etmi\u015f olursan\u0131z olun, bir \u00f6nc\u00fc olma ayr\u0131cal\u0131\u011f\u0131na sahip olmak ad\u0131na i\u015fgal edilecek yeni bir sanatsal alan isteme motivasyonu da vard\u0131r.<\/p>\n\n\n\n

Nas\u0131l ortaya \u00e7\u0131km\u0131\u015f olursa olsun, kutsal olan ile sanatsal olan\u0131n birbirinden ayr\u0131lmas\u0131 \u2014gelene\u011fin tasfiyesi\u2014 sanat\u00e7\u0131lar\u0131 ak\u0131nt\u0131da ba\u015f\u0131bo\u015f b\u0131rakm\u0131\u015ft\u0131r. Bug\u00fcn kurallar\u0131, nesnel \u00f6l\u00e7\u00fctleri, sanatsal mihenk ta\u015flar\u0131, evrensel bir kanonu ve y\u00f6netici bir otoritesi olmayan bir alanday\u0131z. Art\u0131k bu bir siyasi ve kimlik aidiyeti, ki\u015finin kendi tercih etti\u011fi ekol\u00fc se\u00e7mesi meselesidir. Mutlak \u00f6zg\u00fcrl\u00fck, Materyalist \u0130nsan’\u0131n s\u0131n\u0131rlar\u0131n\u0131n a\u00e7\u0131\u011fa \u00e7\u0131kmas\u0131na yol a\u00e7ar; onun entelekt\u00fcel ve duygusal \u00f6nkabulleri, sanat\u0131 giderek daha solipsistik (tekbenci) ve hermetik (i\u00e7e kapal\u0131) hale gelirken zalimce g\u00f6zler \u00f6n\u00fcne serilir. \u015eimdilerde, e\u011fer bir sanat\u00e7\u0131 b\u00fcy\u00fck temalara \u2014\u00f6l\u00fcm, a\u015fk, arzu, melankoli, \u00e7ocukluk saplant\u0131lar\u0131, insan\u0131n varolu\u015fsal ac\u0131s\u0131\u2014 yakla\u015f\u0131rsa, harika ve \u00f6zg\u00fcn bir sanat i\u00e7in yeterli malzeme vard\u0131r; ancak bu, yaln\u0131zca ki\u015finin en \u00fcst kalibrede olmas\u0131 ve sanata derin bir anlama giden hayati bir yol olarak yakla\u015fmas\u0131 durumunda m\u00fcmk\u00fcnd\u00fcr.<\/p>\n\n\n\n

Modernle\u015fme s\u00fcreciyle birlikte geleneksel dinin toplumsal alandan \u00e7ekilmesi bir “kutsal aray\u0131\u015f\u0131” do\u011furdu ve sanat, dinin yerini alan sek\u00fcler bir kuruma d\u00f6n\u00fc\u015ft\u00fc. M\u00fczeler modern tap\u0131naklar haline gelirken, k\u00fcrat\u00f6rler de yeni ruhban s\u0131n\u0131f\u0131 oldu. Sanat\u0131n bu \u015fekilde “dinile\u015fmesi”, estetik de\u011ferin yerini ideolojik bir dogmatizmin almas\u0131na nas\u0131l yol a\u00e7t\u0131? \u00c7a\u011fda\u015f sanat d\u00fcnyas\u0131 sek\u00fcler bir teoloji gibi mi i\u015fliyor?<\/em><\/strong><\/p>\n\n\n

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Bug\u00fcn Bat\u0131’n\u0131n yeni sanat anlay\u0131\u015f\u0131n\u0131 harekete ge\u00e7iren iki paralel motorumuz var: \u00f6zg\u00fcnl\u00fck k\u00fclt\u00fc (yani hem yenili\u011fe duyulan a\u00e7l\u0131k hem de \u00f6zg\u00fcnl\u00fc\u011f\u00fcn mihenk ta\u015flar\u0131 olarak benzersiz sanatsal kal\u0131nt\u0131lara duyulan h\u00fcrmet) ve materyalizm (arzulanan metalar\u0131n parasal veya stat\u00fc de\u011feri). Bunlar\u0131n hi\u00e7biri sanat hakk\u0131nda neyin anlaml\u0131 oldu\u011funu bilmeye giden bir yol sa\u011flamaz, bu nedenle bu ko\u015fullar alt\u0131nda \u00fcretilen sanat\u0131n yozla\u015fmas\u0131 ka\u00e7\u0131n\u0131lmazd\u0131r.<\/p>\n\n\n\n

Sizin o \u00e7ok iyi ifadenizle “k\u00fcrat\u00f6r-rahip”in ideolojiye \u00e7ok fazla de\u011fer verdi\u011finden emin de\u011filim. O tarafs\u0131zd\u0131r. Sanat\u0131, y\u00f6netici elitin bir hazinesi olarak denetler ve elitin de\u011ferlerini, y\u00f6netici olmayan elite sinyallemek (iletmek) i\u00e7in bir ara\u00e7 olarak kullan\u0131r. Bununla \u015funu kastediyorum; k\u00fcrat\u00f6r-rahip, sanat\u0131n (\u00f6nceki \u00e7a\u011flarda oldu\u011fu gibi) kutsal olan\u0131n alg\u0131lanmas\u0131n\u0131 ve izleyici ile kutsal (numinous) aras\u0131ndaki ba\u011f\u0131 sa\u011flayan bir ara\u00e7 olmad\u0131\u011f\u0131n\u0131 anlar; k\u00fcrat\u00f6r-rahip ve onun efendileri i\u00e7in sanat, pasif al\u0131c\u0131ya yaln\u0131zca y\u00f6netici elitin d\u0131\u015f\u0131nda hi\u00e7bir g\u00fcc\u00fcn olmad\u0131\u011f\u0131n\u0131, Tanr\u0131’n\u0131n olmad\u0131\u011f\u0131n\u0131, \u00f6l\u00fcms\u00fcz sanat\u00e7\u0131lar panteonunun olmad\u0131\u011f\u0131n\u0131, insanl\u0131\u011f\u0131n hi\u00e7bir temel atalardan kalma \u00f6z\u00fcn\u00fcn olmad\u0131\u011f\u0131n\u0131 aktar\u0131r. Y\u00f6netici elitin beyan etti\u011fi de\u011ferlerin do\u011fas\u0131 gere\u011fi teknokratik materyalist olmas\u0131 ise tesad\u00fcfidir. Hem k\u00fcrat\u00f6r-rahip hem de sanat\u00e7\u0131-yaz\u0131c\u0131, gerekirse bir g\u00fcn i\u00e7inde herhangi bir sisteme ge\u00e7i\u015f yapabilir; prensipte her zaman bu g\u00f6r\u00fc\u015fleri savunduklar\u0131na inan\u0131rlard\u0131. \u00d6rne\u011fin y\u00f6netici elit, d\u00fcn ate\u015fli feminist sanat\u0131 destekleyen sanat i\u015f\u00e7isi tebaas\u0131ndan, erkeklerin kendilerini kad\u0131n ilan edebileceklerine g\u00f6n\u00fclden inanmalar\u0131n\u0131 talep edebilir; tebaa bu ge\u00e7i\u015f nedeniyle hi\u00e7bir bili\u015fsel \u00e7eli\u015fki ya\u015famaz. Hem k\u00fcrat\u00f6r-rahip hem de sanat\u00e7\u0131-yaz\u0131c\u0131 tamamen sistemin i\u00e7indedir ve \u00f6z fark\u0131ndal\u0131ktan yoksun olarak faaliyet g\u00f6sterirler, \u00e7\u00fcnk\u00fc ba\u015far\u0131lar\u0131 (hayatta kalmalar\u0131 de\u011filse bile) bu esnekli\u011fe ba\u011fl\u0131d\u0131r.<\/p>\n\n\n\n

Bug\u00fcn ge\u00e7mi\u015fin sanat eserlerine, heykellerine ve k\u00fclt\u00fcrel miras\u0131na y\u00f6nelik, “iptal k\u00fclt\u00fcr\u00fc” (cancel culture) veya “ilericilik” olarak adland\u0131r\u0131lan yeni bir ikonoklastik dalgaya tan\u0131kl\u0131k ediyoruz. Tarihi yeniden yazma, ge\u00e7mi\u015fi bug\u00fcn\u00fcn ahlaki normlar\u0131yla formatlama ve haf\u0131zay\u0131 adeta silme giri\u015fimi olarak nitelendirilebilecek bu modern ikonoklazm\u0131 nas\u0131l de\u011ferlendiriyorsunuz?<\/em><\/strong><\/p>\n\n\n\n

Bug\u00fcn\u00fcn ateist liberalizm de\u011ferlerinin egemenli\u011fi (ideolojiden ba\u011f\u0131ms\u0131z olarak tek a\u011f\u0131r basan temel unsurun y\u00f6netici elitin hayatta kalmas\u0131 oldu\u011fu d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, her ne kadar sadece s\u00f6zde kalsa da), rakip de\u011ferlerin a\u015fa\u011f\u0131lanmas\u0131na, yeniden yaz\u0131lmas\u0131na ve silinmesine ba\u011fl\u0131d\u0131r. Dolay\u0131s\u0131yla, \u015f\u00f6valyeli\u011fin kahramanl\u0131\u011f\u0131, kabile homojenli\u011finin de\u011feri, atalara tap\u0131nma, anlat\u0131lamaz ilahi kar\u015f\u0131s\u0131nda duyulan hu\u015fu, ulusal vatanseverlik, b\u00fcy\u00fck insanlar\u0131n tarihi \u015fekillendirme g\u00fcc\u00fcne olan inan\u00e7, \u00e7at\u0131\u015fan medeniyetlerin uyu\u015fmazl\u0131\u011f\u0131 \u2014t\u00fcm bunlar, tarihin evrenselcili\u011fe do\u011fru b\u00fck\u00fcld\u00fc\u011f\u00fcne ve halklar\u0131n (ve bireylerin) esasen birbirinin yerine ge\u00e7ebilir (ikame edilebilir) oldu\u011funa inanan idari teknokratlar i\u00e7in aforoz sebebidir. Bu durum, sanatsal miraslardaki her t\u00fcrl\u00fc fark\u0131n, ka\u00e7\u0131n\u0131lmaz (ancak belirsiz ve sorgulanmam\u0131\u015f) tek d\u00fcnya bak\u0131\u015f a\u00e7\u0131s\u0131na giden yolda tesad\u00fcfi b\u00f6lgesel varyasyonlara indirgenmesini gerektirir.<\/p>\n\n\n\n

Ge\u00e7mi\u015f medeniyetlerin fiziksel k\u00fclt\u00fcr\u00fcn\u00fcn karalanmas\u0131n\u0131 ve d\u00fczmece mahkemelerde (\u015fov duru\u015fmalar\u0131nda) sergilenmesini gerektirir. Londra’da, ulusal d\u00fczeyde hayranl\u0131k duyulan tarihi bir sanat\u00e7\u0131n\u0131n (Hogarth) ulusal m\u00fczemizde bir \u015fov duru\u015fmas\u0131nda sergilenmesi gibi i\u00e7 karart\u0131c\u0131 bir manzaraya \u015fahit olduk; burada topluluk \u00f6rg\u00fct\u00e7\u00fcleri ve siyasi provokat\u00f6rler, etiketlerde sergilenen sanat eserlerini ihbar edip k\u0131nad\u0131lar. Ama\u00e7 moralimizi bozmak ve bizi utand\u0131rmakt\u0131r. Daha sonra resimler m\u00fcze duvarlar\u0131ndan kald\u0131r\u0131lacak ve nihai hedef olarak kal\u0131c\u0131 koleksiyondan tamamen \u00e7\u0131kar\u0131lmalar\u0131 (envanterden d\u00fc\u015f\u00fclmeleri) ama\u00e7lanacakt\u0131r. Ba\u011fnazlar sanat\u0131n yok edilmesini tercih ederlerdi ama bu \u015fu an i\u00e7in kabul edilemez bir durum.<\/p>\n\n\n\n

Kavramsal sanat zanaatkarl\u0131\u011f\u0131, estetik formu ve g\u00fczellik aray\u0131\u015f\u0131n\u0131 marjinalle\u015ftirerek sanat\u0131 tamamen soyut bir fikir veya siyasi bir a\u00e7\u0131klama d\u00fczeyine indirgedi. Bir nesnenin s\u0131rf galeri duvarlar\u0131 i\u00e7inde yer ald\u0131\u011f\u0131 i\u00e7in sanat eseri say\u0131ld\u0131\u011f\u0131 bu d\u00fczende, zanaat\u0131n ve bi\u00e7imsel ustal\u0131\u011f\u0131n d\u0131\u015flanmas\u0131 sanat\u0131 nas\u0131l bir \u00e7\u00fcr\u00fcme durumuna s\u00fcr\u00fckledi?<\/em><\/strong><\/p>\n\n\n

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Man at Bookcase, 2024, Alexander Adams<\/figcaption><\/figure>\n<\/div>\n\n\n

Zorlu ve \u00f6m\u00fcr boyu s\u00fcrecek bir zanaat ustal\u0131\u011f\u0131na boyun e\u011fmek, daha y\u00fcksek bir otoriteye \u2014ki\u015finin seleflerinin otoritesine\u2014 boyun e\u011fmeyi gerektirir; bu ise bug\u00fcn sanat\u00e7\u0131lara yabanc\u0131 bir durumdur \u00e7\u00fcnk\u00fc kendilerini kendi kendilerinin efendisi olarak g\u00f6r\u00fcrler. Onlar\u0131n g\u00f6z\u00fcnde ustalardan bir \u015feyler \u00f6\u011frenmek zorunda olmak i\u011fren\u00e7tir, bu y\u00fczden haz\u0131r-nesnenin (readymade) veya asamblaj\u0131n tayini ya da ba\u015fka bir oyalama yoluyla bundan ka\u00e7\u0131nman\u0131n yollar\u0131n\u0131 bulurlar. Vas\u0131fs\u0131zla\u015fma ve i\u015fi ba\u015fkas\u0131na devretme nedeniyle, bug\u00fcn\u00fcn sanat\u00e7\u0131s\u0131 nadiren bir zanaatkard\u0131r. Bug\u00fcn\u00fcn sanat\u00e7\u0131lar\u0131, ge\u00e7mi\u015fin b\u00fcy\u00fck ba\u015far\u0131lar elde etmi\u015f isimlerine k\u0131yasla kendi yetersizliklerine kar\u015f\u0131 \u00f6fkelenirler, bu da onlar\u0131 ac\u0131la\u015ft\u0131r\u0131r ve d\u00fc\u015fmanca bir tavra iter.<\/p>\n\n\n\n

2006 y\u0131l\u0131nda, \u00e7a\u011fda\u015f sanat\u00e7\u0131lar\u0131n yenilik ve ustal\u0131k havalar\u0131n\u0131 beslemek i\u00e7in i\u015fgal ettikleri ni\u015f alan\u0131 tan\u0131mlamak \u00fczere “n\u00f6rotik zanaat” terimini ortaya atm\u0131\u015ft\u0131m; bu ifade, zanaat tekniklerinin ge\u00e7ici ve modern olana uygulanmas\u0131n\u0131 tan\u0131mlar \u2014tozdan heykel yapmak, polistireni delmek, meyve oymak gibi\u2014 ki bu ustal\u0131\u011f\u0131 feti\u015fle\u015ftirir ancak nihayetinde bir t\u00fckenmi\u015flik ve beyhudelik ifadesidir. Bu n\u00f6rotik zanaatkarlar (genellikle kad\u0131nlar) avangart ve dahi olarak g\u00f6r\u00fclmenin sayg\u0131nl\u0131\u011f\u0131n\u0131 isterler, ancak \u00fcretimlerinin ge\u00e7mi\u015fteki b\u00fcy\u00fck ustalarla (Gibbons, Michelangelo, Bernini, Rosso gibi) k\u0131yaslanamayaca\u011f\u0131ndan emin olmak i\u00e7in dikkat ederler; \u00e7\u00fcnk\u00fc bir k\u0131yaslama, onlar\u0131n vizyon, yetenek ve entelekt\u00fcel fukaral\u0131\u011f\u0131n\u0131 a\u00e7\u0131\u011fa \u00e7\u0131karacakt\u0131r. Dolay\u0131s\u0131yla, ki\u015fi kendini \u015fu ya da bu altarpiece\u2019in (sunak resmi) ustas\u0131 olarak de\u011fil de, tek kullan\u0131ml\u0131k bardaklara t\u00fckenmez kalemle \u00e7izim yapan bir sanat\u00e7\u0131 olarak icat eder \u2014b\u00f6ylece stat\u00fc, uzmanl\u0131k ve marka bilinirli\u011fi kazan\u0131l\u0131r, ancak sanatsal de\u011ferlendirmeden ka\u00e7\u0131n\u0131lm\u0131\u015f olur. Bu, piyasan\u0131n yenilik talebi, bir ni\u015f alan ihtiyac\u0131, B\u00fcy\u00fck Adamlar’a duyulan h\u0131n\u00e7 ve sanat\u0131n titanik duygusal-manevi g\u00fcc\u00fcn\u00fcn reddi taraf\u0131ndan y\u00f6nlendirilen, incelikli bir ka\u00e7\u0131\u015flar dizisidir.<\/p>\n\n\n\n

\u00c7a\u011fda\u015f sanat d\u00fcnyas\u0131ndaki bu nihilizm, k\u00f6ks\u00fczl\u00fck ve estetik y\u0131k\u0131m kar\u015f\u0131s\u0131nda, muhafazakar bir sanat ele\u015ftirisi yaln\u0131zca bir “nostalji ve \u015fikayet” konumunda m\u0131 kalmal\u0131, yoksa alternatif bir in\u015fa s\u00fcreci mi \u00f6nermeli? \u00c7a\u011fda\u015f d\u00fcnyada sanat\u0131n kendini sa\u011flam bir zeminde yeniden kurmas\u0131; g\u00fczellik, hakikat ve zanaatla yeniden ba\u011f kurmas\u0131 i\u00e7in nas\u0131l bir restorasyon form\u00fcl\u00fc \u00f6ng\u00f6r\u00fcyorsunuz?<\/em><\/strong><\/p>\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n

Sadece ge\u00e7mi\u015fin formlar\u0131na ve konular\u0131na d\u00f6nen ve ge\u00e7mi\u015f bir d\u00f6nemin dilini kullanan gelenek\u00e7ilerin bir gelece\u011fi yoktur, \u00e7\u00fcnk\u00fc onlar\u0131n sanat\u0131 \u00f6z\u00fcnde cans\u0131zd\u0131r. Bu, ge\u00e7mi\u015f bir d\u00f6nemde do\u011fal ve ifade y\u00fckl\u00fc olan ancak bizim durumumuz ve \u00e7evremiz farkl\u0131 oldu\u011fu i\u00e7in art\u0131k uygulanabilir olmayan \u015feylerin bir sim\u00fclasyonudur (simulakra). Ezeli sabitler baki kal\u0131r ama g\u00f6zlerimiz ve kusurlar\u0131m\u0131z atalar\u0131m\u0131z\u0131nkilerle ayn\u0131 de\u011fildir. Klasik olarak kabul etti\u011fimiz Poussin ve Claude gibi sanat\u00e7\u0131lar, kendi d\u00f6nemlerinde yenilik\u00e7i kabul ediliyorlard\u0131; ge\u00e7mi\u015fin sanat\u0131n\u0131 yeniden \u00fcretmeye ba\u011f\u0131ml\u0131 de\u011fillerdi. Eski Ustalar\u0131n (Old Masters) eserlerinde hayranl\u0131k duyduklar\u0131 hikayeleri ve duygular\u0131 geni\u015fletmek, canland\u0131rmak ve daha keskin hale getirmek istiyorlard\u0131. Gelene\u011fin canl\u0131 kalabilmesi i\u00e7in kendini yenilemesi, yeni formlar ve malzemeler bulmas\u0131, taze ifadeler benimsemesi ve t\u00fcm bunlar\u0131 yaparken evrenselcili\u011fin ve materyalizmin sahte s\u0131radanl\u0131klar\u0131na kar\u015f\u0131 direnmesi gerekir. Bir sanat\u00e7\u0131, her iki yakla\u015f\u0131m da samimiyetten uzak oldu\u011fu i\u00e7in, hem kendini korumac\u0131 ironiden hem de ge\u00e7mi\u015f ihti\u015fam\u0131n y\u00fczeysel kisvesine b\u00fcr\u00fcnmekten (facile appropriation) ka\u00e7\u0131nmal\u0131d\u0131r. Ayn\u0131 \u015fekilde ele\u015ftirel olmal\u0131, yanl\u0131\u015f veya hantal oldu\u011fu kan\u0131tlanm\u0131\u015f varsay\u0131mlardan vazge\u00e7meye her zaman istekli olmal\u0131d\u0131r. Bir sanat\u00e7\u0131n\u0131n aray\u0131\u015f\u0131; \u00e7ocuksu hayranl\u0131k, ilkel korkular, erotik arzu, a\u015fk\u0131nl\u0131k \u00f6zlemi ve \u00e7arp\u0131c\u0131 bir imgeyi yakalay\u0131p sabitlemeye y\u00f6nelik yak\u0131c\u0131 bir arzu gibi kendi temel saplant\u0131lar\u0131na sad\u0131k kal\u0131rken, stilleri, ifadeleri ve teknik \u00e7\u00f6z\u00fcmleri bir y\u0131lan\u0131n derisini d\u00f6kmesi gibi geride b\u0131rakmakt\u0131r. B\u00fcy\u00fck sanat\u00e7\u0131 (her d\u00f6nemin), d\u00f6neminin basmakal\u0131p s\u00f6zlerini ve geleneksel tepkilerini reddetmeli, gard\u0131n\u0131 asla indirmemeli, asla rehavete kap\u0131lmamal\u0131d\u0131r. O (Evola’n\u0131n tavsiye etti\u011fi gibi), zaman\u0131n\u0131n i\u00e7inde olmal\u0131 ama zaman\u0131ndan olmamal\u0131d\u0131r. Bu hassas bir dengedir. Bir sanat\u00e7\u0131 olarak benim de elde etmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131m \u015fey budur.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c7a\u011fda\u015f sanat d\u00fcnyas\u0131n\u0131n i\u00e7ine d\u00fc\u015ft\u00fc\u011f\u00fc k\u00f6ks\u00fczl\u00fc\u011f\u00fc, kurals\u0131zl\u0131\u011f\u0131 ve estetik \u00e7\u00f6z\u00fclmeyi Britanyal\u0131 ressam, yazar ve ele\u015ftirmen Alexander Adams ile konu\u015ftuk. Culture War ve Iconoclasm, Identity Politics and the Erasure of History gibi kitaplar\u0131yla sanat kurumlar\u0131n\u0131n entelekt\u00fcel \u00e7\u00f6k\u00fc\u015f\u00fcn\u00fc ve \u201ciptal k\u00fclt\u00fcr\u00fc\u201dn\u00fc \u00f6d\u00fcn vermeden ele\u015ftiren Adams, ayn\u0131 zamanda Vermeer ve Leonardo gibi b\u00fcy\u00fck ustalar \u00fczerine kaleme ald\u0131\u011f\u0131 monografilerle… Continue reading →<\/span><\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":3050,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[58,1],"tags":[],"class_list":["post-3046","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gorus","category-roportajlar"],"yoast_head":"\nAlexander Adams: Kutsal olan ile sanatsal olan\u0131n birbirinden ayr\u0131lmas\u0131 \u2014gelene\u011fin tasfiyesi\u2014 sanat\u00e7\u0131lar\u0131 ak\u0131nt\u0131da ba\u015f\u0131bo\u015f b\u0131rakt\u0131 - Eren Ye\u015filyurt<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/erenyesilyurt.com\/index.php\/2026\/07\/06\/alexander-adams-kutsal-olan-ile-sanatsal-olanin-birbirinden-ayrilmasi-gelenegin-tasfiyesi-sanatcilari-akintida-basibos-birakti\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alexander Adams: Kutsal olan ile sanatsal olan\u0131n birbirinden ayr\u0131lmas\u0131 \u2014gelene\u011fin tasfiyesi\u2014 sanat\u00e7\u0131lar\u0131 ak\u0131nt\u0131da ba\u015f\u0131bo\u015f b\u0131rakt\u0131 - Eren Ye\u015filyurt\" \/>\n<meta property=\"og:description\" content=\"\u00c7a\u011fda\u015f sanat d\u00fcnyas\u0131n\u0131n i\u00e7ine d\u00fc\u015ft\u00fc\u011f\u00fc k\u00f6ks\u00fczl\u00fc\u011f\u00fc, kurals\u0131zl\u0131\u011f\u0131 ve estetik \u00e7\u00f6z\u00fclmeyi Britanyal\u0131 ressam, yazar ve ele\u015ftirmen Alexander Adams ile konu\u015ftuk. Culture War ve Iconoclasm, Identity Politics and the Erasure of History gibi kitaplar\u0131yla sanat kurumlar\u0131n\u0131n entelekt\u00fcel \u00e7\u00f6k\u00fc\u015f\u00fcn\u00fc ve \u201ciptal k\u00fclt\u00fcr\u00fc\u201dn\u00fc \u00f6d\u00fcn vermeden ele\u015ftiren Adams, ayn\u0131 zamanda Vermeer ve Leonardo gibi b\u00fcy\u00fck ustalar \u00fczerine kaleme ald\u0131\u011f\u0131 monografilerle... 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Culture War ve Iconoclasm, Identity Politics and the Erasure of History gibi kitaplar\u0131yla sanat kurumlar\u0131n\u0131n entelekt\u00fcel \u00e7\u00f6k\u00fc\u015f\u00fcn\u00fc ve \u201ciptal k\u00fclt\u00fcr\u00fc\u201dn\u00fc \u00f6d\u00fcn vermeden ele\u015ftiren Adams, ayn\u0131 zamanda Vermeer ve Leonardo gibi b\u00fcy\u00fck ustalar \u00fczerine kaleme ald\u0131\u011f\u0131 monografilerle... 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