Constantin Brancuşi ’nin Heykellerinde Yöresellikten “Evrenselliğe Giden Yol” Ve Heykel Sanatına Getirdiği Yenilikler

Abstract

“Constantin Brancusi’nin Heykellerinde Yoresellikten ‘Evrensellige Giden Yol’ ve Heykel Sanatina Getirdigi Yenilikler” adli arastirmamin amaci, XX yuzyilin baslarinda eser veren Romanyali heykeltiras Constantin Brancusi’nin en onemli eser dizilerini inceleyip analiz ettikten sonra beslendigi geleneksel halk sanatindan hangi unsurlari aldigini, bunlari nasil kullandigini, neyi ifade etmeye calistigini ve heykel sanatina ne gibi yenilikler getirdigi ortaya koymaktir. Romanya’da sanat egitimini alan sanatci, Rodin gibi buyuk bir heykeltirasin yaninda hayatinin bir donemini gecirdikten sonra olunceye kadar Paris’te yasamini surdurmustur. Sehirde modern bir hayat icinde bulunmasina ragmen Constantin Brancusi, yetistigi Romen toplumun halk geleneklerini, inanclarini ve yoresel motiflerini unutmayip olusturdugu yapitlarinda kullanmistir. Yapitlarini olusturan yoresel bir anlam tasiyan formlar nasil halen gecerli olan evrensel bir ifade bicimine donusmustur? Bircok kisi tarafindan ilk bakista soyut olarak algilanan eserler, ancak Romen geleneksel halk sanati, masallari veya inanclari inceledikten sonra somut olduklari anlasilacaktir. Constantin Brancusi’nin anlatim bicimi, yoresel kaynaktan yola cikarak evrensel degerlere ulasmistir. Sanatcinin kullandigi formlar, Romen toplumunu anlatan kultur ozellikleri tasisalar da evrensel bir ifade bicimini olusturan arketip formlardir. Constantin Brancusi’den once gorsel estetik acidan akademik ideal guzellige gore degerlendirilen heykel sanati, onun ifade yontemi ile XX yuzyilin baslarinda yeni bir surece girip yeni estetik degerler kazanmistir. Constantin Brancusi’nin heykelleri uc gruba ayrilmaktadir: Insan ve hayvan figurleri; ahsaptan yontulmus antropomorf formlar ve kamusal alanlar icin calisilmis anit heykeller. Bu arastirmada sadece insan ve hayvan konulu eserler incelenmektedir. ABSTRACT IN ENGLISH “The Path toward Universality” from Localness in Constantin Brancusi’s Sculptures and the Innovations He Brought to the Art of Sculpture The main concern of this study entitled “The Path toward Universality from Localness in Constantin Brancusi’s Sculptures and the Innovations He Brought to the Art of Sculpture” is to analyze the most significant series of works of Constantin Brancusi, who is a Romanian sculptor of the early 20 th century, and to reveal the elements he borrowed from folk art, which is his source of inspiration, how he used them, what he tried to express, and what is the artistic novelty that he brought into sculpture. The artist, who received his art education in Romania, spent his life in Paris until he died, after he lived with Rodin for a while, who was an important sculptor. Although Brancusi lived a modern city life, he did not forget the traditions, beliefs and local motifs of the Romanian society he came from, and he used them in his works. How did the local forms that constitute his works, turn into universal expressions which are still valid? His works which are perceived as abstract at first can be seen as concrete once the Romanian traditional folk art, tales and beliefs are examined. Constantin Brancusi’s way of expression came out of local representation and reached to universal values. The forms he used are the archetypal forms that constitute a universal expression although they represent Romanian social and cultural elements. The art of sculpture which was evaluated according to academic ideal beauty in a visual aesthetical aspect, gained new aesthetical values at the beginning of the 20 th century with Constantin Brancusi’s way of expression. Brancusi’s sculptures are divided into three groups. Human and animal figures, wood sculpt anthropomorphic forms, and public space monument projects and sculptures. In this study, only human and animal themed works are investigated.