{"id":78367,"date":"2011-08-08T10:13:52","date_gmt":"2011-08-08T07:13:52","guid":{"rendered":"http:\/\/www.nationalturk.com\/?p=78367"},"modified":"2019-03-28T10:13:12","modified_gmt":"2019-03-28T07:13:12","slug":"leonardo-milano-hediyesi-son-aksam-yemegi-5149","status":"publish","type":"post","link":"https:\/\/www.nationalturk.com\/tr\/leonardo-milano-hediyesi-son-aksam-yemegi-5149\/","title":{"rendered":"Leonardo\u2019nun Milano\u2019ya hediyesi: SON AK\u015eAM YEME\u011e\u0130 II"},"content":{"rendered":"

\"\"<\/a><\/h2>\n

Sevgi G\u00fcrtuna \u2018n\u0131n ge\u00e7en haftaki makalesinin devam\u0131 niteli\u011findeki \u201cLeonardo\u2019nun Milano\u2019ya hediyesi: SON AK\u015eAM YEME\u011e\u0130 II\u201d adl\u0131 makalesini sizlerle payla\u015f\u0131yoruz;<\/h2>\n

Rahiplerin uzun yemek masalar\u0131n\u0131n bulundu\u011fu salonun bir duvar\u0131n\u0131 boydan boya kaplayan, 4.6 m geni\u015fli\u011finde, 8.8 m uzunlu\u011fundaki bu ba\u015fyap\u0131t, ilk a\u00e7\u0131ld\u0131\u011f\u0131 g\u00fcn m\u00fcthi\u015f bir heyecan uyand\u0131rm\u0131\u015ft\u0131.<\/p>\n

Salonun do\u011fal \u0131\u015f\u0131\u011f\u0131 yemek masas\u0131n\u0131n tam \u00fczerini ayd\u0131nlatmakta, perspektifle birlikte, resme sanki salonun uzant\u0131s\u0131ym\u0131\u015f\u00e7as\u0131na bir derinlik kazand\u0131rmaktayd\u0131. Bu kutsal \u00f6yk\u00fc, o zamana dek, seyirciye bu kadar yak\u0131n olmam\u0131\u015ft\u0131; rahiplerin yemek salonunda kutsal kitab\u0131n en \u00f6nemli an\u0131 olan Son Ak\u015fam Yeme\u011fi elle tutulur, somut bir \u015fey oluvermi\u015fti. Belki de rahipleri \u00f6nce, ayr\u0131nt\u0131lar\u0131n do\u011fal bi\u00e7imde resmedili\u015findeki ger\u00e7ek\u00e7ilik etkilemi\u015fti. Rahipler, bu ola\u011fan\u00fcst\u00fc ger\u00e7ek\u00e7ilik yan\u0131lsamas\u0131n\u0131n yaratt\u0131\u011f\u0131 ilk \u015fa\u015fk\u0131nl\u0131\u011f\u0131 a\u015ft\u0131ktan sonra, Leonardo\u2019nun, \u0130ncil\u2019in bu sahnesini nas\u0131l betimledi\u011fini anlamaya \u00e7al\u0131\u015fm\u0131\u015flard\u0131. \u0130sa, \u015fefaat da\u011f\u0131t\u0131rken havarilerin bir masa \u00e7evresinde derli toplu ve dizi halinde oturdu\u011fu eski geleneksel ikonografilere benzeyen hi\u00e7bir \u015fey yoktu bu resimde. B\u00fct\u00fcn havariler \u00e7ok de\u011fi\u015fik y\u00fcz anlat\u0131mlar\u0131 ve tepkilerle, yak\u0131nda ger\u00e7ekle\u015fecek ihanetin bildirimiyle \u015fa\u015fk\u0131nl\u0131kla doluydu; bu yap\u0131tta dram vard\u0131, devinim vard\u0131. Sanki Leonardo, duvarlara zaman d\u0131\u015f\u0131 ve \u201canl\u0131k bir g\u00f6r\u00fcnt\u00fc\u201d \u00e7\u0131karm\u0131\u015f gibiydi.<\/p>\n

Bir\u00e7ok Floransal\u0131 ressam gibi Leonardo da Son Ak\u015fam Yeme\u011fi\u2019ini, merkezi perspektif kurallar\u0131na uygun, tiyatro sahnesine benzer bir d\u00fczen i\u00e7inde betimledi. Perspektif \u00e7izgileri, \u0130sa\u2019n\u0131n sa\u011f g\u00f6z\u00fcnde odakla\u015f\u0131r ki bu bile, \u0130sa\u2019n\u0131n hem betimlenen olayda hem de resimde ta\u015f\u0131d\u0131\u011f\u0131 merkezi konumu vurgulayan ba\u015fl\u0131 ba\u015f\u0131na bir \u00f6\u011fedir. Masan\u0131n \u00fcst\u00fcne d\u00fc\u015fen \u0131\u015f\u0131k, fig\u00fcrlere hacim ve cisimsellik verir. Son Ak\u015fam Yeme\u011fi\u2019nin \u00fczerimizde b\u0131rakt\u0131\u011f\u0131 an\u0131tsal etki yaln\u0131zca boyutlar\u0131ndan de\u011fil, mekan ve \u0131\u015f\u0131\u011f\u0131n egemenli\u011fi aras\u0131ndaki ili\u015fkiden ileri gelmektedir. S\u00fcsl\u00fc masa \u00f6rt\u00fcs\u00fc ve masan\u0131n \u00fczerindeki nesnelerin uyumlu birlikteli\u011fi, neredeyse m\u00fczikal armonilerden olu\u015fan oyunlar\u0131yla, kompozisyonun ritmik kesimine katk\u0131da bulunmaktad\u0131r. Masa \u00f6rt\u00fcs\u00fc ve tabaklar \u00fczerindeki desenler izleyenleri hayrete d\u00fc\u015f\u00fcrecek kadar ayr\u0131nt\u0131lar i\u00e7ermektedir. Masa \u00fczerindeki yiyeceklerle birlikte her \u015fey usta i\u015fi nat\u00fcrmort \u00f6rnekleridir.<\/p>\n

Fakat freskin (duvar resmi) daha Leonardo hayattayken y\u0131pranmaya ba\u015flamas\u0131, renklerin do\u011fall\u0131klar\u0131n\u0131 kaybetmesi inan\u0131lmaz bir talihsizliktir. Bir duvar resmi yap\u0131l\u0131rken su bazl\u0131 boyalar, nemli s\u0131va \u00fczerine uygulan\u0131r, b\u00f6ylece boya s\u0131van\u0131n i\u00e7ine i\u015fleyerek s\u0131van\u0131n bir par\u00e7as\u0131 haline gelir.<\/p>\n

Leonardo ise boya ile verni\u011fi kuru duvar \u00fczerine uygulad\u0131\u011f\u0131ndan, boya duvar\u0131n i\u00e7ine iyice i\u015flememi\u015ftir. Daha \u00f6nce duvar resmi yap\u0131m\u0131nda kullan\u0131lmam\u0131\u015f bu teknik, yeralt\u0131 sular\u0131n\u0131n ta\u015f\u0131d\u0131\u011f\u0131 tuzlarla birle\u015fince resim pul pul d\u00f6k\u00fclmeye ba\u015flad\u0131. Y\u00fczy\u0131llar i\u00e7inde yap\u0131lan onar\u0131mlar resmin daha \u00e7ok bozulmas\u0131n\u0131 engelleyemedi. 17 y\u0131l s\u00fcren son restorasyonda, daha \u00f6nceki m\u00fcdahalelere kadar inilerek temizlenmi\u015f ve Leonardo\u2019nun paletinin canl\u0131 renkleri ortaya \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r.
\n\u0130\u015fte \u00fcstad\u0131n bize b\u0131rakt\u0131\u011f\u0131 bu \u00f6l\u00fcms\u00fcz eser, insan dehas\u0131n\u0131n mucizelerinden biri olarak g\u00fcn\u00fcm\u00fcze gelebilen, sanat\u00e7\u0131n\u0131n tamamlayabildi\u011fi az say\u0131daki resminden biridir .<\/p>\n

\u201c\u0130yi ve K\u00f6t\u00fc\u201dn\u00fcn Y\u00fcz\u00fc<\/h3>\n

Leonardo, Son Ak\u015fam Yeme\u011fi’ni yapmay\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcnde, iyili\u011fi temsil eden \u0130sa’y\u0131 ve k\u00f6t\u00fcl\u00fc\u011f\u00fc temsil eden Yahuda’y\u0131 betimlemek i\u00e7in, bir film y\u00f6netmeninin rol da\u011f\u0131t\u0131m\u0131 i\u00e7in uygun oyuncular\u0131 aramas\u0131 gibi her havariye uygun fig\u00fcr\u00fc bulabilmek i\u00e7in aylarca uygun y\u00fcz\u00fc de\u011fi\u015fik ortamlarda arad\u0131.<\/p>\n

Bir g\u00fcn koroda \u015fark\u0131 s\u00f6yleyen dindar bir genci, \u0130sa’ n\u0131n tasviri i\u00e7in at\u00f6lyesine davet etti, say\u0131s\u0131z taslak ve eskiz \u00e7izdi. Aradan \u00fc\u00e7 y\u0131l ge\u00e7ti\u011fi halde fresk hala tamamlanamam\u0131\u015ft\u0131. Leonardo, Yahuda i\u00e7in kullanaca\u011f\u0131 modeli g\u00fcnlerce arad\u0131ktan sonra, sarho\u015fluktan kald\u0131r\u0131m kenar\u0131na y\u0131\u011f\u0131lm\u0131\u015f, vaktinden \u00f6nce ya\u015flanm\u0131\u015f, pa\u00e7avralar i\u00e7inde gen\u00e7 bir adam buldu (Roma\u2019daki bir hapishanede buldu\u011fu da s\u00f6ylenceler aras\u0131ndad\u0131r). Leonardo adam\u0131n y\u00fcz\u00fcnde g\u00f6r\u00fclen inan\u00e7s\u0131zl\u0131\u011f\u0131, g\u00fcnah\u0131, bencilli\u011fi resmetmeye ba\u015flad\u0131. Leonardo i\u015fini bitirmek \u00fczereydi ki, adam yava\u015f yava\u015f ay\u0131larak g\u00f6zlerini a\u00e7t\u0131 ve harika duvar resmini g\u00f6rd\u00fc. \u015ea\u015fk\u0131nl\u0131k ve h\u00fcz\u00fcn dolu bir sesle \u015f\u00f6yle dedi:<\/p>\n

-\u201cBen bu resmi daha \u00f6nce g\u00f6rd\u00fcm\u201d.<\/p>\n

-\u201cNe zaman?\u201d diye sordu Leonardo, o da \u015fa\u015f\u0131rm\u0131\u015ft\u0131.<\/p>\n

-\u201c\u00dc\u00e7 y\u0131l \u00f6nce. Elimde avucumda olan her \u015feyi hen\u00fcz kaybetmemi\u015fken. O s\u0131ralarda bir koroda \u015fark\u0131 s\u00f6yl\u00fcyordum, pek \u00e7ok hayalim vard\u0131. Bir ressam beni \u0130sa’ n\u0131n y\u00fcz\u00fc i\u00e7in modellik yapmak \u00fczere davet etmi\u015fti.\u201d<\/p>\n

H\u00fcz\u00fcn dolu bu y\u00fczde, asl\u0131nda Leonardo\u2019nun 20 y\u0131l \u00f6nce Floransa\u2019da hissetti\u011fi ihanete u\u011frama duygusunu yans\u0131tt\u0131\u011f\u0131 da s\u00f6ylenir.<\/p>\n

Sevgi G\u00fcrtuna<\/strong><\/p>\n

Sevgi G\u00fcrtuna ‘n\u0131n “Leonardo\u2019nun Milano\u2019ya hediyesi: SON AK\u015eAM YEME\u011e\u0130 I ” adl\u0131 makalesi i\u00e7in t\u0131klay\u0131n\u0131z<\/strong><\/a><\/p>\n\n\n","protected":false},"excerpt":{"rendered":"

Leonardo\u2019nun Milano\u2019ya hediyesi: SON AK\u015eAM YEME\u011e\u0130 II .Rahiplerin yemek salonunda kutsal kitab\u0131n en \u00f6nemli an\u0131 olan Son Ak\u015fam Yeme\u011fi elle tutulur, somut bir \u015fey oluvermi\u015fti.<\/p>\n","protected":false},"author":9192216,"featured_media":188303,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6221,5005,6670],"tags":[77120,74098,61662,77115,77116,196074,77118],"class_list":["post-78367","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur","category-manset","category-sanat","tag-isa","tag-leonardo","tag-leonardo-da-vinci","tag-leonardo-milano","tag-leonardo-son-aksam-yemegi","tag-sevgi-gurtuna","tag-son-aksam-yemegi"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/78367","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/users\/9192216"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/comments?post=78367"}],"version-history":[{"count":0,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/78367\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media\/188303"}],"wp:attachment":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media?parent=78367"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/categories?post=78367"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/tags?post=78367"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}