Publication: Etrüsk Medeniyeti sanatında desen anlayışı
Abstract
Etrüsk Medeniyeti sanatında desen anlayışı Etrüskler MÖ 9. yüzyıl ve 3. yüzyıllar arasında, tarihte Etruria olarak bilinen, günümüzde Toscana, Lazio’nun kuzey bölümü ve Umbria’yı kapsayan Orta İtalya’nın batısındaki yerleşim alanında hüküm sürmüşlerdir. Rönesans’a kadar hatırlanmayan Etrüsk halkının gizemli tarihi ve etnik kökenleri hakkındaki bilinmezler, tarihçiler ve arkeologlar arasında tartışma konusu olmaya devam etmektedir. Batı medeniyetinin oluşumunda belirleyici katkıları olan Etrüsk sanat eserlerinin çok boyutlu görsel dili bu esrarlı antik medeniyetin estetik, sembolik ve sosyal hayatının çözümlenmesine yardımcı olmaktadır. “Etrüsk Medeniyeti Sanatında Desen Anlayışı” başlığını taşıyan ve dokuz bolümden oluşan bu çalışma, kökenleri Anadolu’ya uzanan Etrüsk medeniyeti hakkında kaynak oluşturmak ve ülkemizde daha fazla tanınmasına katkıda bulunmayı amaçlamaktadır. Birinci bölümde, Etrüsk isminin kökenleri ile İtalya’da yüzyıllar sonra bilimsel veriler ve arkeolojik kazılar sayesinde küllerinden yeniden doğan Etrüsk medeniyeti değerlendirilmiş, Etrüskler’e ait göçler, köken ve kimlik teorilerinin yanı sıra alt başlıkta Etrüsk tarihine yer verilmiştir. İkinci bölümde Etrüsk mimarisinin genel tanımı ve alt başlıklarda sivil ve dinî mimari yapıların teknik, estetik ve sanatsal özellikleri detaylı olarak tanımlanmıştır. Üçüncü bölümde, Etrüsk resim ve heykel üretimlerinin yapısal ve görsel dil özellikleri, Anadolu ve Akdeniz uygarlıklarıyla olan kültürel ilişkileriyle karşılaştırmalı olarak incelenmiştir. Dördüncü bölümde, Etrüsk el sanatları ve zanaatlarının yapısal özellikleri; seramik, mücevher ve ayna alt başlıkları kapsamında, seçilen örnekler üzerinden irdelenmiştir. Beşinci bölümde, “Etrüsklerde Desen Anlayışı” başlığı altında, duvar resimleri, vazolar, mücevherler ve aynalarda bulunan desenler; geometrik, bitkisel ve figüratif özelliklerine göre sınıflandırılarak değerlendirilmiştir. Altıncı bölümde, Etrüsk sanat eserlerinin sergilendiği Dünya ve İtalyan müzeleri ile zengin buluntulara sahip Tarquinia bölgesi konu alınarak, Akdeniz dünyasıyla dinamik temas halinde olan bir toplumun zengin görsel kaydı kronolojik olarak kayda alınmıştır. Yedinci ve son bölümde ise, Batı medeniyeti ve Roma İmparatorluğu’nun kuruluşundaki etkileri yadsınamayan Etrüsk mirasının Roma kültürüne tesiri, somut örneklerle ortaya konulmaya çalışılmıştır.
The concept of pattern in the art of Etruscan Civilization The Etruscans ruled over the western part of central Italy, known in history as Etruria, which today encompasses Tuscany, the northern part of Lazio, and Umbria, between the 9th and 3rd centuries BCE. The mysterious history and unknowns about the ethnic origins of the Etruscan people, forgotten until the Renaissance, continue to be a subject of debate among historians and archaeologists. The multidimensional visual language of Etruscan artworks, which made a determining contribution to the formation of Western civilization, helps to decipher the aesthetic, symbolic, and social life of this enigmatic ancient civilization. This nine-part study, titled “The Concept of Pattern in the Art of Etruscan Civilization,” aims to create a resource about the Etruscan civilization, whose origins extend to Anatolia, and to contribute to its greater recognition in our country. The first chapter evaluates the origins of the name “Etruscan” and the Etruscan civilization, which was reborn from its ashes centuries later in Italy thanks to scientific data and archaeological excavations. It also includes a sub-heading on Etruscan history, as well as theories of migration, origin, and identity related to the Etruscans. The second section provides a general description of Etruscan architecture and details the technical, aesthetic, and artistic characteristics of civil and religious architectural structures in the subheadings. In the third chapter, the structural and visual language characteristics of Etruscan painting and sculpture production are examined in comparison with their cultural relations with Anatolian and Mediterranean civilizations. The fourth chapter examines the structural characteristics of Etruscan crafts and arts, focusing on ceramics, jewelry, and mirrors, through selected examples. In the fifth chapter, under the heading “The Concept of Pattern in the Etruscans,” patterns found on wall paintings, vases, jewelry, and mirrors are evaluated and classified according to their geometric, botanical, and figurative characteristics. The sixth chapter focuses on museums in Italy and around the world that display Etruscan artworks, as well as the Tarquinia region with its rich findings, chronologically noting the rich visual record of a society in dynamic contact with the Mediterranean world. The seventh and final chapter attempts to demonstrate the influence of Etruscan heritage on Roman culture, using concrete examples, given its undeniable impact on Western civilization and the founding of the Roman Empire. Etruscans, Tarquinia, Etruscan Civilization, Etruria, Pattern, Art History
The concept of pattern in the art of Etruscan Civilization The Etruscans ruled over the western part of central Italy, known in history as Etruria, which today encompasses Tuscany, the northern part of Lazio, and Umbria, between the 9th and 3rd centuries BCE. The mysterious history and unknowns about the ethnic origins of the Etruscan people, forgotten until the Renaissance, continue to be a subject of debate among historians and archaeologists. The multidimensional visual language of Etruscan artworks, which made a determining contribution to the formation of Western civilization, helps to decipher the aesthetic, symbolic, and social life of this enigmatic ancient civilization. This nine-part study, titled “The Concept of Pattern in the Art of Etruscan Civilization,” aims to create a resource about the Etruscan civilization, whose origins extend to Anatolia, and to contribute to its greater recognition in our country. The first chapter evaluates the origins of the name “Etruscan” and the Etruscan civilization, which was reborn from its ashes centuries later in Italy thanks to scientific data and archaeological excavations. It also includes a sub-heading on Etruscan history, as well as theories of migration, origin, and identity related to the Etruscans. The second section provides a general description of Etruscan architecture and details the technical, aesthetic, and artistic characteristics of civil and religious architectural structures in the subheadings. In the third chapter, the structural and visual language characteristics of Etruscan painting and sculpture production are examined in comparison with their cultural relations with Anatolian and Mediterranean civilizations. The fourth chapter examines the structural characteristics of Etruscan crafts and arts, focusing on ceramics, jewelry, and mirrors, through selected examples. In the fifth chapter, under the heading “The Concept of Pattern in the Etruscans,” patterns found on wall paintings, vases, jewelry, and mirrors are evaluated and classified according to their geometric, botanical, and figurative characteristics. The sixth chapter focuses on museums in Italy and around the world that display Etruscan artworks, as well as the Tarquinia region with its rich findings, chronologically noting the rich visual record of a society in dynamic contact with the Mediterranean world. The seventh and final chapter attempts to demonstrate the influence of Etruscan heritage on Roman culture, using concrete examples, given its undeniable impact on Western civilization and the founding of the Roman Empire. Etruscans, Tarquinia, Etruscan Civilization, Etruria, Pattern, Art History