Pre-Raphaelite Kardeşliği sanat hareketinde Lilith imgesinin dönüşümü
The transformation of the Lilith's image in the pre-Raphaelite Brotherhood art movement
- Tez No: 739306
- Danışmanlar: DOÇ. DR. OĞUZ HAŞLAKOĞLU
- Tez Türü: Yüksek Lisans
- Konular: Güzel Sanatlar, Sanat Tarihi, Fine Arts, Art History
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2022
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Lisansüstü Eğitim Enstitüsü
- Ana Bilim Dalı: Sanat Tarihi Ana Bilim Dalı
- Bilim Dalı: Sanat Tarihi Bilim Dalı
- Sayfa Sayısı: 218
Özet
Kökenleri M.Ö. 2000'li yıllara dayanan, Antik Mezopotamya'da Ana Tanrıça kültü ile ilişkili bir figür olarak tarih sahnesinde kendini gösterdiği düşünülen Lilith, tanrıça kültlerinin önemini yitirerek gücünü ataerkil geleneklere bırakmasıyla birlikte uzun ömürlü olacak ve ona kötü şöhretini verecek bir değişime maruz kalmıştır. 19. yüzyıla gelindiğinde Lilith'in imgesinde bir kırılma yaşanmaya başlamış ve bu“yeniden-dönüşüm”özellikle Viktorya Dönemi İngiltere'sinin sanat sahnesinde kendini göster-miştir. Bu çalışma, 19. yüzyılın ilk yarısında İngiltere'sinde, aslen üç Kraliyet Akade-misi sanatçısının, dönemin sanat anlayışına karşılık geliştirdikleri ortak görüşler sonucu kurduğu Pre- Raphaelite Kardeşliği (Pre- Raphaelite Brotherhood) adlı sanat hareketin-de Lilith figürünün ele alınışı ve imgesinin feminist bir karakter olma yolunda geçirdiği dönüşümün ilk izlerini göstermeyi amaçlamaktadır. Lilith'in hem anlamsal hem imgesel olarak geçirdiği dönüşümün daha iyi bir şekilde anlaşılması için, ilk bölümde hem etimolojik kökeninin izi sürülmeye çalışılmış hem de Mezopotamya'da görüldüğü tarihten başlayarak, çoğu yerde anılacağı formunu tam olarak kazandığı Yahudi kültürü ve itikadındaki yerine kadar nasıl ele alındığı incelen-miştir. Lilith'in yüklendiği olumsuz anlamlar hem kendisinin hem de imgesinin iblisleş-tirilmesi ilk olarak 19. yüzyıl İngiltere'sinin sanat dünyasında sarsıntıya uğramıştır. Çalışmanın ikinci bölümünde öncelikle, Viktorya Dönemi'nin tarihi sahnesinin geçir-diği değişim ve dönüşümlere değinildikten sonra dönemin sanat dünyasının mevcut durumu ve burada meydana gelen değişiklikler incelenmiştir. Ardından Viktorya Dö-nemi sanat görüşünün mihenk taşını oluşturan Kraliyet Akademi'sinin görüşlerini artık yetersiz ve geçersiz bulan bir grup akademi öğrencisinin kurduğu Pre-Raphaelite Kar-deşliği sanat hareketinin nasıl kurulduğu, neyi amaçladıkları ve neleri değiştirdikleri sunulmuştur. Son olarak, Viktorya Dönemi kadın anlayışıyla kendilerinin kadınlara bakış açıları birlikte incelenerek, kadın figürleri nasıl ele aldıkları değerlendirilmiştir. Lilith'in Pre-Raphaelite sanat hareketinde ele alınması, kardeşliğin dağılmasıyla akımın“İkinci Dalga Pre-Raphaelitizm”olarak anılmaya başladığı döneme denk gelmektedir. Kardeşliğin kurucu üç sanatçısı arasında ressamlığının yanında şair yönüyle bilinen Dante Gabriel Rossetti'nin, kardeşlik dağıldıktan sonra 1860-1870'lerde ürettiği şiir-lerde ve Lady Lilith adlı resimde kendini göstermiştir. Edebi eserlerden ve dini metin-lerden etkilenen Rossetti'nin Lilith'i ele alışı çalışmanın son bölümünde sunulmuştur. Bununla birlikte Lilith'in geçtiği ve Rossetti'nin etkilendiği edebi metinler incelenmiş, Lady Lilith'in oluşumunda etkili olan sanat eserleriyle birlikte incelenmesi ortaya ko-nulmaya çalışılmıştır. Bununla birlikte Rossetti'nin Lilith temalı çalışmalarından ve dönemin kadın hareketlerinin yaratmaya başladığı düşüncelerden etkilenen sanatçılar-dan biri olan John Collier'in yanı sıra, George Macdonald ve Robert Browning gibi yazarların ve şairlerin bu temada oluşturdukları eserler incelenerek Lilith'in geçirmeye başladığı anlamsal ve imgesel dönüşümün ele alınmaya çalışılmıştır.
Özet (Çeviri)
Origins of Lilith, which is thought to have appeared on the stage of history as a figure associated with the cult of the Mother Goddess in Ancient Mesopotamia dating back to the c. 2000 B.C., has been subjected to a long-lasting change that will give her notorie-ty as the goddess cults lost their importance and left their power to patriarchal tradi-tions. This mentioned transformation lasts until the 19th century when it experienced its breaking point. This“re-transformation”in Lilith's image started to show itself, es-pecially in the art scene of 19th century Victorian England. In this study, the handling of the figure of Lilith and its image as a feminist character tried to be revealed in the art movement called Pre-Raphaelite Brotherhood, which was originally founded by three Royal Academy artists in the first half of the 19th century, as a result of the common views they developed in response to the Victorian ideal of the art. To better understand Lilith's transformation both semantically and imaginatively, in the first part, both its etymological origins were tried to be traced and how it was dealt with from the date when it was seen in Mesopotamia to its place in Jewish culture and creed, where it gained the last form that it will be remembered in many places. Lilith, whose demonization began in the Sumerian period, has now appeared as a member of a demon class in the Assyrian and Babylonian civilizations, and talismans, bowls writ-ten in Aramaic, and amulets made to protect from her have been found. On the other hand, while its reflection in Greco-Roman narratives shows itself as Lamia, and in An-atolia as Albastı or Alkarısı, whose traces can be found in variations versions due to oral narratives in various geographies. While Lilith is mentioned in the Old Testament with a figure close to her characteristics in Mesopotamia, the place where she would be referred to as“Adam's first wife”or“First Eve”in the present day is the texts of the Jewish creed. Thus, Lilith has been referred to as a“Dark Virgin”typology, as op-posed to the Eve/Mary archetype, as an archetype of the“second woman”, the rebel-lious, sexually reconciled, sensual and wild. These negative meanings of Lilith and the demonization of both herself and her image were first shaken in the art world of 19th century England. In the second part of the study, first of all, the changes and transformations of the historical scene of Victorian Britain with the effects of the Industrial Revolution and its becoming a colonial Empire were mentioned. After mentioning these, the situation of the art world in the Victorian period and the changes that took place were examined in relationship with the historical changes that occurred. Then, it is presented how the Pre-Raphaelite Brotherhood art movement was founded, what they had aimed and what they changed. Pre- Raphaelite Brotherhood was founded by a group of academy students who found the views of the Royal Academy, which was the cornerstone of the Victorian Art view, to be inadequate and invalid. Contrary to the art of Raphael and High Renaissance art-ists, whom the Academy glorified, the Pre-Raphaelites, tried to capture the innocence of Early Renaissance and Medieval art and the naivety of their religious beliefs, also benefited greatly from literature. The brotherhood, among which there were poets and writers, reflected the themes of literary works of names such as Goethe and Dante, as well as names such as Keats, Tennyson, and Shakespeare, in their own art. The understanding developed on women in the Victorian Era was mostly shaped by two factors. The first one happened in the framework of the conservative understand-ing of Queen Victoria. The second one is, that as a result of developments such as the Industrial Revolution, the rise of the middle-class bourgeoisie and the increase in its weight in the male-dominated society caused the wake of patriarchal oppression and helped shape the“ideal female”view. Finally, in the second part, this new understand-ing of women shaped in the Victorian Period and the Pre-Raphaelite members' per-spectives on women were examined together, and it was tried to reveal how they han-dled female figures. The consideration of Lilith in the Pre-Raphaelite art movement coincides with the peri-od when the movement began to be called“Second Wave Pre-Raphaelitism”with the disintegration of the brotherhood. During this period, the three artists who were the founders of the movement began to go in opposite directions. This period, also known as the second“aesthetic”wave, featured Dante Gabriel Rossetti, and followed in the footsteps of his follower, Edward Burne-Jones. While this second“aesthetic”period helped the birth of formations such as“Arts and Crafts”, it also influenced Aestheti-cism and Decadent movements. In the Pre-Raphaelite movement, Lilith's first appearance was after the dissolution of the brotherhood, between the late 1860s and early 1870s, in the poems and the painting Lady Lilith produced by Dante Gabriel Rossetti, who is known for being a poet as well as being a painter among the three founder artists. Rossetti, with the end of the 1850s, began to deal with women in a duality. Using figures such as Mary and Magdalene, Sibyl and Siren, he made paintings of highly spiritual female figures associated with goodness, and also sensual, perverted and wild femme-fatal women associated with the evilness, as depictions of figures based on literary and religious texts and adorned with symbols. Rossetti, who likes to convey poetry as painting and painting as poetry since the first period, wrote sonnets, ballads and poems accompanying most of these paint-ings. Influenced by literary texts such as Goethe's and Keats's works and also religious texts such as the Old Testament and Talmud, Rossetti's treatment of Lilith is presented in the last part of the study. Rossetti, who made Lady Lilith correspond to her sonnet of the same name, later changed this sonnet to“Body's Beuty”and presented it in a duality with the“Soul's Beuty”sonnet corresponding to the“Sibylla Palmifera”painting. Here, too, the distinction between good and bad women has manifested itself. Howev-er, Lady Lilith is presented to us as an opposed image of the ideal Victorian woman, who has duality and transformation within herself. It has been claimed that this figure, who is mundane with its bodily beauty, poses a threat to patriarchal male thought with her gaze that she deliberately avoids from her male audience. Yet, she has been placed in a chamber which is accepted as appropriate in the Victorian understanding for a woman and in the end, she was a production made from a male gaze. In addition, the literary texts that Lilith has been mentioned and Rossetti was influenced by were examined, and it was tried to be evaluated together with the works of art that were effective in the formation of Lady Lilith. Furthermore, the artists and their pro-ductions which were influenced by Rossetti's Lilith-themed works and the ideas that the recent women's movements in the Victorian era have been examined. Such as John Collier's painting“Lilith”, George MacDonald's novel“Lilith”and Robert Browning's little-known poem“Adam, Lilith and Eve”. This thesis, by studying the works created on the theme deal with Lilith, aims to trace the semantic and imaginary transformation that Lilith began to go through are presented. Thus, it was tried to show the first traces of Lilith in the process of transforming from the image of the demonized woman at-tributed to her to a feminist figure.
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