{"id":57976,"date":"2020-07-21T05:19:58","date_gmt":"2020-07-21T10:19:58","guid":{"rendered":"https:\/\/akunq.net\/tr\/?p=57976"},"modified":"2020-07-21T05:19:58","modified_gmt":"2020-07-21T10:19:58","slug":"bizans-doneminde-taki-sanati","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=57976","title":{"rendered":"Bizans D\u00f6neminde Tak\u0131 Sanat\u0131"},"content":{"rendered":"

\"\"<\/p>\n

Elif Patan<\/a>\u00a0<\/em><\/strong><\/p>\n

Bizans tak\u0131 sanat\u0131, 6. y\u00fczy\u0131ldan sonra kendine \u00f6zg\u00fc bir form kazanarak Roma \u00fcslubundan ayr\u0131ld\u0131.<\/strong><\/em><\/p>\n

\"\"
Bu sekizgen y\u00fcz\u00fck, \u0130sa\u2019n\u0131n ya\u015fam\u0131ndan sekiz sahne ile s\u00fcslenmi\u015f. C: Wikimedia Commons<\/figcaption><\/figure>\n

Genellikle Hristiyanl\u0131\u011fa ait fig\u00fcrlerin kullan\u0131m\u0131 yayg\u0131n olmakla birlikte form kullan\u0131mlar\u0131 da yayg\u0131nd\u0131. Genel inan\u0131\u015f, Hristiyanl\u0131\u011fa dair i\u015flenen fig\u00fcrlerin tak\u0131y\u0131 takan ki\u015fiyi korudu\u011fu y\u00f6n\u00fcndeydi. Bundan dolay\u0131 Hristiyanl\u0131kla ilgili semboller olduk\u00e7a pop\u00fclerdi.<\/p>\n

(\u00c7\u00f6p Y\u0131\u011f\u0131nlar\u0131, Bizans\u2019\u0131n \u00c7\u00f6k\u00fc\u015f\u00fcn\u00fc G\u00f6steriyor<\/a>)<\/p>\n

Ge\u00e7 Bizans d\u00f6neminde Latin istilas\u0131 sonras\u0131 do\u011fu ile bat\u0131 \u00fcsluplar\u0131n\u0131n tak\u0131 sanat\u0131n\u0131 etkiledi\u011fi g\u00f6r\u00fcl\u00fcyor. Bizans d\u00f6neminde erkek ve kad\u0131nlar \u00e7o\u011funlukla tak\u0131 kullan\u0131rd\u0131. Bu bilgiye arkeolojik kaz\u0131lardan elde edilen bulgular\u0131n yan\u0131 s\u0131ra kilise duvar resimleri, ikona ya da minyat\u00fcrlerde de rastlan\u0131l\u0131yor. Bizans \u0130mparatorlu\u011funda ta\u00e7 giyme t\u00f6renleri ile evlilik t\u00f6renleri Roma\u2019dan Bizans\u2019a miras olarak ge\u00e7ti. Her iki t\u00f6rende de \u00e7ok fazla tak\u0131 ve m\u00fccevher kullan\u0131m\u0131 vard\u0131.<\/p>\n

M\u00fccevher ve tak\u0131 yap\u0131m teknikleri<\/strong><\/p>\n

Bizans devletinde Kuyumcular Loncas\u0131, g\u00fc\u00e7l\u00fc bir stat\u00fcye sahipti. I. Konstantin d\u00f6neminde Roma\u2019dan Bizans\u2019a gelen kuyumcularla Konstantinopolis m\u00fccevher a\u00e7\u0131s\u0131ndan \u00f6nemli bir merkez haline geldi. M\u00fccevher, \u0130mparatorlu\u011fun g\u00fcc\u00fcn\u00fc simgeledi\u011finden dolay\u0131 Bizans imparatorlu\u011funda moda oldu. M\u00fccevherlerle kapl\u0131 ta\u00e7lar ve imparatorlu\u011fun simgesi olan mor k\u0131yafetler de\u011ferli ta\u015flarla s\u00fcsleniyordu.<\/p>\n

D\u00f6k\u00fcm, d\u00f6vme, ajur, kabartma, gran\u00fcle, kaz\u0131ma, bask\u0131, zincir gibi \u00e7e\u015fitli tekniklerin yan\u0131 s\u0131ra kafes i\u015fi tekni\u011fi de olduk\u00e7a yayg\u0131n kullan\u0131l\u0131yordu. \u00d6zellikle 3. y\u00fczy\u0131l ile 7. y\u00fczy\u0131llar aras\u0131nda yayg\u0131n olan kafes i\u015fi tekni\u011fi \u00e7o\u011funlukla tak\u0131 malzemesi i\u00e7in alt\u0131n kullan\u0131ld\u0131\u011f\u0131nda tercih ediliyordu.<\/p>\n

\u0130lerleyen tarihlerde kafes i\u015fi tekni\u011finin yava\u015f\u00e7a kayboldu\u011fu g\u00f6r\u00fcl\u00fcyor. Orta ve Ge\u00e7 Bizans d\u00f6nemlerinde Kafes i\u015fi tekni\u011finin yerini, bat\u0131da kullan\u0131lan bir teknik olan b\u00f6lmeli mine tekni\u011finin ald\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcyordu. B\u00f6lmeli Mine Tekni\u011fi, d\u00f6v\u00fclm\u00fc\u015f renkli cam par\u00e7alar\u0131n\u0131n ya da de\u011ferli ta\u015flar\u0131n\u0131n haz\u0131rlanm\u0131\u015f yuvalara f\u0131r\u0131nlanarak doldurma tekni\u011fiydi.<\/p>\n

(Bizans\u2019\u0131n Sanat Y\u0131k\u0131m\u0131: \u0130konoklast D\u00f6nem<\/a>)<\/p>\n

Halk aras\u0131nda kullan\u0131lan tak\u0131larda genellikle bak\u0131r ve bronz tercih edilirdi. Yar\u0131 de\u011ferli ta\u015flar\u0131n Anadolu\u2019da yayg\u0131n olmas\u0131 kullan\u0131m\u0131na da uygun bir zemin olu\u015ftuyordu. Ayr\u0131ca Bizans toplumunda yakut, k\u00f6t\u00fc ruhlardan korunmak i\u00e7in kullan\u0131l\u0131rd\u0131.<\/p>\n

D\u00fc\u011f\u00fcn tak\u0131lar\u0131<\/strong><\/p>\n

Kutsal bir yere sahip olan evlilik Bizans toplumunda, Yunan ve Roma gelenekleriyle Hristiyan dininin harmanlanm\u0131\u015f bir \u015fekli olarak yer al\u0131yordu.<\/p>\n

\"\"
Sicilya\u2019da bulunan bu Bizans y\u00fcz\u00fc\u011f\u00fc, MS 7. y\u00fczy\u0131lda yap\u0131ld\u0131. Y\u00fcz\u00fckte, \u0130sa\u2019n\u0131n gelin ve damat\u0131n birli\u011fini kutsad\u0131\u011f\u0131 betimlenmi\u015f. C: British Museum<\/figcaption><\/figure>\n

Bizans d\u00fc\u011f\u00fcnlerinde en de\u011ferli tak\u0131 evlilik y\u00fcz\u00fc\u011f\u00fc olarak g\u00f6r\u00fcl\u00fcyordu. Evlilik y\u00fcz\u00fckleri genellikle kutsal birlikteli\u011fi sembolize edecek \u015fekilde tasvir ediliyordu. Y\u00fcz\u00fcklerin \u00fczerindeki betimlemelerde ayakta duran bir \u00e7ift ya da el ele tutu\u015fan bir \u00e7ift g\u00f6r\u00fcl\u00fcyordu. Kimi evlilik y\u00fcz\u00fcklerinde yan yana duran ya da el ele tutu\u015fan \u00e7iftlerin \u00f6n\u00fcnde evlilik kurumunun kutsall\u0131\u011f\u0131n\u0131 ve bek\u00e7ili\u011fini temsil eden \u0130sa fig\u00fcr\u00fc oluyordu.<\/p>\n

Ayr\u0131ca evlilik y\u00fcz\u00fcklerinde kutsal simge olan ha\u00e7 da kullan\u0131l\u0131yordu. Evlilik y\u00fcz\u00fckleriyle birlikte s\u0131k s\u0131k evlilik tac\u0131 da kullan\u0131l\u0131rd\u0131. Atina Bizans M\u00fczesinde 10. ve 11. y\u00fczy\u0131llara tarihlenen Bizans\u2019tan g\u00fcn\u00fcm\u00fcze ula\u015fmay\u0131 ba\u015farm\u0131\u015f bir evlilik tac\u0131 bulunuyor. Yar\u0131m daire \u015feklindeki tac\u0131n \u00fczerine kaz\u0131ma tekni\u011fiyle yap\u0131lm\u0131\u015f ha\u00e7 motifleri bulunuyor. Tac\u0131n \u00fczerinde ayr\u0131ca \u015fu s\u00f6zler yaz\u0131l\u0131:<\/p>\n

\u201cOnu g\u00fczel arma\u011fanlarla kar\u015f\u0131lad\u0131n. Ba\u015f\u0131na alt\u0131ndan ta\u00e7 koydun. Senden ya\u015fam istedi, verdin ona. Uzun sonsuz bir \u00f6m\u00fcr\u2026\u201d<\/em><\/p>\n

\"\"
Spatharokandidatos Romanos ailesinden bahseden bir yaz\u0131t ta\u015f\u0131yan 10. y\u00fczy\u0131l kalay kapl\u0131 bronz d\u00fc\u011f\u00fcn tac\u0131. C: Wikimedia Commons<\/figcaption><\/figure>\n

Bizans evlilik t\u00f6renlerinde erke\u011fin kad\u0131na tak\u0131lar arma\u011fan etmesi bir gelenekti. Bu gelenekle erkek kad\u0131na ona duydu\u011fu sevgiyi g\u00f6steriyordu. Ayr\u0131ca tak\u0131 hediye etmek, erke\u011fin stat\u00fc g\u00f6sterme \u015fekli olarak g\u00f6r\u00fcl\u00fcyordu. K\u00fcpe, gerdanl\u0131k ve kolye gibi tak\u0131larla birlikte kemer s\u00fcslemeleri, fibula gibi tak\u0131larda veriliyordu. Bizans toplumunda s\u00fcslemeli kemer takmak olduk\u00e7a yayg\u0131nd\u0131. Evlilikte de kad\u0131na kemer s\u00fcslemeleri veriliyordu. Ayr\u0131ca hilal bi\u00e7imindeki k\u00fcpeler de evlilik hediyesi olarak veriliyordu. Bu k\u00fcpelerin kullan\u0131m\u0131 \u00f6zellikle 6. ve 7. y\u00fczy\u0131llar aras\u0131nda son derece yayg\u0131nd\u0131.<\/p>\n

9. ve 10. y\u00fczy\u0131llar aras\u0131na tarihlenen Bizans Bilezi\u011finin malzemesi alt\u0131n ve camd\u0131. Etraf\u0131 alt\u0131nla kaplanan bilezi\u011fin dikd\u00f6rtgen \u015feklindeki b\u00f6l\u00fcmlerindeki \u00e7i\u00e7ek ve hayvan motiflerine yer veriliyor. Bilezik, g\u00fcn\u00fcm\u00fczde Yunanistan\u2019da Bizans K\u00fclt\u00fcr\u00fc M\u00fczesinde sergileniyor.<\/p>\n

\"\"
Alt\u0131n bilezik \u00e7ifti. C: Museum of Byzantine Culture<\/figcaption><\/figure>\n

Devletin g\u00fcc\u00fcn\u00fc simgeleyen ta\u00e7lar<\/strong><\/p>\n

\u0130mparator ya da \u0130mparatori\u00e7e\u2019nin kulland\u0131\u011f\u0131 ta\u00e7, soylulu\u011fu ve devletin g\u00fcc\u00fcn\u00fc sembolize ederdi. Bu d\u00f6nemde imparatorlar\u0131n ta\u00e7lar\u0131 ve giysileri de\u011ferli ta\u015flarla ve incilerle s\u00fcsleniyordu. \u0130mparatorlar\u0131n ve \u0130mparatori\u00e7elerin kulland\u0131klar\u0131 ta\u00e7lar b\u00fcy\u00fck ve g\u00f6steri\u015fliydi. Ta\u00e7lar\u0131n \u00fczerinde birbirinden farkl\u0131 de\u011ferli ta\u015flar kullan\u0131l\u0131yordu. Bu d\u00f6nemde ta\u00e7lardaki g\u00f6steri\u015f, mozaik resimlerine de yans\u0131yordu.<\/p>\n

\"\"
Zoe Mozai\u011fi \u2013 Ayasofya.<\/figcaption><\/figure>\n

Zoe ve e\u015fi IX. Konstantinos\u2019un Mozaikleri, Ayasofya\u2019n\u0131n g\u00fcney galerisinin do\u011fu duvar\u0131nda bulunuyor. 11. y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131na tarihlenen mozaikte, Zoe\u2019nin tac\u0131n\u0131n en \u00fcst k\u0131sm\u0131ndaki \u00fc\u00e7genler bereketi simgeliyordu. Giysi \u00fczerindeki dairesel m\u00fccevherler ise sonsuzlu\u011fu simgeliyordu.<\/p>\n

\"\"
Komnenos Mozai\u011fi \u2013 Ayasofya.<\/figcaption><\/figure>\n

Ayasofya\u2019daki bir ba\u015fka mozaik ise Komnenos Mozai\u011fi. \u0130mparator ve \u0130mparatori\u00e7enin giysisinin neredeyse tamam\u0131 de\u011ferli ta\u015flarla s\u00fcslenirken ba\u015flar\u0131nda yer alan ta\u00e7lar ise s\u00fcsl\u00fc ve g\u00f6steri\u015fli.<\/p>\n

\n

Kaynaklar<\/strong><\/em><\/p>\n

Erdihan, Yavuz \u201cAyasofya\u2019da Zoe ve Komnenos Mozaikleri: Resimsel D\u00fczenleme ve Konu \u00dczerine\u201d Art Sanat Dergisi Say\u0131:4, 2015, sayfa:15-29<\/em><\/p>\n

K\u00f6ro\u011flu, G\u00fclg\u00fcn \u201cBizans\u2019ta Kad\u0131n ve Kad\u0131n Tak\u0131lar\u0131\u201d Osmanl\u0131 Bankas\u0131 Ar\u015fiv ve Ara\u015ft\u0131rma Merkezi 14 \u015eubat 2010<\/em><\/p>\n

Uluda\u011f \u00dcniversitesi Sanat Tarihi Lisans D\u00fczeyi 4. S\u0131n\u0131f Birinci D\u00f6nem \u201cBizans El Sanatlar\u0131\u201d Ders Notlar\u0131<\/em><\/p>\n

https:\/\/arkeofili.com\/bizans-doneminde-taki-sanati\/<\/a><\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Elif Patan\u00a0 Bizans tak\u0131 sanat\u0131, 6. y\u00fczy\u0131ldan sonra kendine \u00f6zg\u00fc bir form kazanarak Roma \u00fcslubundan ayr\u0131ld\u0131. Bu sekizgen y\u00fcz\u00fck, \u0130sa\u2019n\u0131n ya\u015fam\u0131ndan sekiz sahne ile s\u00fcslenmi\u015f. C: Wikimedia Commons Genellikle Hristiyanl\u0131\u011fa ait fig\u00fcrlerin kullan\u0131m\u0131 yayg\u0131n olmakla birlikte form kullan\u0131mlar\u0131 da yayg\u0131nd\u0131. Genel inan\u0131\u015f, Hristiyanl\u0131\u011fa dair i\u015flenen fig\u00fcrlerin tak\u0131y\u0131 takan ki\u015fiyi korudu\u011fu y\u00f6n\u00fcndeydi. Bundan dolay\u0131 Hristiyanl\u0131kla ilgili […]<\/p>\n","protected":false},"author":7,"featured_media":57977,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-57976","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-haberler"],"yoast_head":"\nBizans D\u00f6neminde Tak\u0131 Sanat\u0131 - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi<\/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:\/\/akunq.net\/tr\/?p=57976\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bizans D\u00f6neminde Tak\u0131 Sanat\u0131 - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Elif Patan\u00a0 Bizans tak\u0131 sanat\u0131, 6. y\u00fczy\u0131ldan sonra kendine \u00f6zg\u00fc bir form kazanarak Roma \u00fcslubundan ayr\u0131ld\u0131. Bu sekizgen y\u00fcz\u00fck, \u0130sa\u2019n\u0131n ya\u015fam\u0131ndan sekiz sahne ile s\u00fcslenmi\u015f. C: Wikimedia Commons Genellikle Hristiyanl\u0131\u011fa ait fig\u00fcrlerin kullan\u0131m\u0131 yayg\u0131n olmakla birlikte form kullan\u0131mlar\u0131 da yayg\u0131nd\u0131. Genel inan\u0131\u015f, Hristiyanl\u0131\u011fa dair i\u015flenen fig\u00fcrlerin tak\u0131y\u0131 takan ki\u015fiyi korudu\u011fu y\u00f6n\u00fcndeydi. 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Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/akunq.net\/tr\/?p=57976","og_locale":"en_US","og_type":"article","og_title":"Bizans D\u00f6neminde Tak\u0131 Sanat\u0131 - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi","og_description":"Elif Patan\u00a0 Bizans tak\u0131 sanat\u0131, 6. y\u00fczy\u0131ldan sonra kendine \u00f6zg\u00fc bir form kazanarak Roma \u00fcslubundan ayr\u0131ld\u0131. Bu sekizgen y\u00fcz\u00fck, \u0130sa\u2019n\u0131n ya\u015fam\u0131ndan sekiz sahne ile s\u00fcslenmi\u015f. C: Wikimedia Commons Genellikle Hristiyanl\u0131\u011fa ait fig\u00fcrlerin kullan\u0131m\u0131 yayg\u0131n olmakla birlikte form kullan\u0131mlar\u0131 da yayg\u0131nd\u0131. Genel inan\u0131\u015f, Hristiyanl\u0131\u011fa dair i\u015flenen fig\u00fcrlerin tak\u0131y\u0131 takan ki\u015fiyi korudu\u011fu y\u00f6n\u00fcndeydi. 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