{"id":7656,"date":"2019-03-31T21:11:30","date_gmt":"2019-03-31T18:11:30","guid":{"rendered":"https:\/\/iletim.istanbul.edu.tr\/?p=7656"},"modified":"2019-08-01T12:48:09","modified_gmt":"2019-08-01T09:48:09","slug":"gecmisten-gunumuze-yagli-boya-tablo-restorasyonu","status":"publish","type":"post","link":"https:\/\/iletim.istanbul.edu.tr\/index.php\/2019\/03\/31\/gecmisten-gunumuze-yagli-boya-tablo-restorasyonu\/","title":{"rendered":"Sanat Yap\u0131tlar\u0131 Arac\u0131l\u0131\u011f\u0131yla Uygarl\u0131klar\u0131n Ser\u00fcveni \u00d6n\u00fcm\u00fcze Seriliyor"},"content":{"rendered":"

Hande Nur OCAK
\n<\/strong>
\n\u0130stanbul \u00dcniversitesi Edebiyat Fak\u00fcltesi Ta\u015f\u0131nabilir K\u00fclt\u00fcr Varl\u0131klar\u0131 ve Onar\u0131m\u0131 B\u00f6l\u00fcm\u00fc \u00d6\u011fretim \u00dcyesi Do\u00e7. Dr. G\u00fclder Emre, k\u00fclt\u00fcr miras\u0131 olan ya\u011fl\u0131 boya tablolar\u0131n nas\u0131l korunmas\u0131 gerekti\u011fini ve yapt\u0131klar\u0131 \u00e7al\u0131\u015fmalar\u0131 anlatt\u0131.<\/p>\n

\"Rembrandt
Rembrandt \u201c Gece Devriyesi\u201d tablosu, 1642<\/figcaption><\/figure>\n

Uygarl\u0131\u011f\u0131n ser\u00fcveni ve ge\u00e7irdi\u011fi evrelerinin en somut \u015fekliyle g\u00fcn\u00fcm\u00fcze dek kalm\u0131\u015f sanat yap\u0131tlar\u0131 arac\u0131l\u0131\u011f\u0131yla \u00f6n\u00fcm\u00fcze serildi\u011fini s\u00f6yleyen Do\u00e7. Dr. Emre,\u00a0 yap\u0131tlar\u0131n \u00fcretimindeki teknik ba\u015far\u0131s\u0131n\u0131 do\u011fan\u0131n, d\u0131\u015f etkenlerin ve zaman\u0131n y\u0131pratmas\u0131na kar\u015f\u0131 g\u00fcn\u00fcm\u00fcze kadar kalabilmi\u015f olmas\u0131na ba\u011flad\u0131.<\/p>\n

Ge\u00e7mi\u015fte insan elinden \u00e7\u0131kan b\u00fct\u00fcn eserlerin, \u00fcretilmesiyle ba\u015flayan ve yok olmas\u0131yla sona erecek olan bir bozulma s\u00fcrecinde varl\u0131klar\u0131n\u0131 devam ettirdi\u011fi g\u00f6r\u00fcl\u00fcyor.\u00a0Burada restorasyon ve konservasyon olgusunun devreye girdi\u011finden bahseden Do\u00e7. Dr. Emre, \u00a0\u201c\u0130nsanlar, ya\u015fad\u0131klar\u0131 d\u00f6nemlerin olanaklar\u0131 i\u00e7inde de\u011fi\u015fik teknikler bularak, k\u00fclt\u00fcr miras\u0131 olarak tan\u0131mlad\u0131\u011f\u0131m\u0131z ta\u015f\u0131n\u0131r veya ta\u015f\u0131nmaz olan ge\u00e7mi\u015fin maddi kal\u0131nt\u0131lar\u0131n\u0131 koruma ve onarma \u00e7abas\u0131 i\u00e7inde olmu\u015ftur\u201d diyerek y\u00fczy\u0131llar i\u00e7inde uygulanan \u00e7e\u015fitli teknikleri anlatt\u0131.<\/p>\n

Resmi G\u00fcne\u015fe B\u0131rakma ve \u0130drar ile Silme<\/strong><\/p>\n

17. y\u00fczy\u0131ldan itibaren koleksiyonculu\u011fun yayg\u0131nla\u015fmas\u0131yla ba\u015flayan ya\u011fl\u0131 boya tablo restorasyonunda ge\u00e7mi\u015f kaynaklara bak\u0131ld\u0131\u011f\u0131nda, insanlar\u0131n tablolar\u0131 korumak amac\u0131yla birtak\u0131m teknikler uygulad\u0131klar\u0131n\u0131 fakat bunlar\u0131n olumsuz sonu\u00e7lar do\u011furdu\u011funu Do\u00e7. Dr. Emre \u015fu ifadelerle anlatt\u0131: “\u00d6rne\u011fin uygulanan y\u00f6ntemlerden baz\u0131lar\u0131 verni\u011fin y\u00fczeyden gidece\u011fini sanarak resmi g\u00fcne\u015fe b\u0131rakma, so\u011fan ve patates dilimleriyle veya idrar ile silme gibi uygulamalard\u0131. Fakat bilin\u00e7sizce ger\u00e7ekle\u015ftirilen bu y\u00f6ntemler tablolar\u0131n bozulmas\u0131na sebep oldu.”<\/p>\n

Bu \u015fekilde uygulanan restorasyon \u00e7al\u0131\u015fmalar\u0131n\u0131n, ya\u011fl\u0131 boya tablolar\u0131n\u0131n boya tabakas\u0131nda ve zemininde, onar\u0131lmas\u0131 m\u00fcmk\u00fcn olmayan sonu\u00e7lar meydana getirmesi s\u00f6z konusu. \u00a0Yine 17. y\u00fczy\u0131lda \u0130talya\u2019da zorunlu durumlarda yap\u0131lan “rantualaj” adl\u0131, yeni tuvale astarlama, d\u00f6k\u00fclen k\u0131s\u0131mlar\u0131n tamamlanmas\u0131, vernikleme, vernik alma gibi \u00e7al\u0131\u015fmalar\u0131n yap\u0131ld\u0131\u011f\u0131ndan bahseden Do\u00e7. Dr. Emre, bu astarlaman\u0131n adeta bir moda gibi sa\u011flam durumdaki eserlere bile yap\u0131lm\u0131\u015f olmas\u0131na dikkat \u00e7ekti.<\/p>\n

\"Yanm\u0131\u015f
Yanm\u0131\u015f bir tablonun restorasyonu<\/figcaption><\/figure>\n

Tablo Restorasyonunda Farkl\u0131 Ekoller<\/strong>
\n<\/strong>20. y\u00fczy\u0131lda art\u0131k ba\u015fl\u0131 ba\u015f\u0131na bir bilim dal\u0131 haline gelen ya\u011fl\u0131 boya tablo restorasyonunun, \u00e7e\u015fitli uluslar\u0131n \u00f6nde gelen restorat\u00f6rlerinin kat\u0131ld\u0131\u011f\u0131 konferanslar ve seminerlerle uluslararas\u0131 bir boyut kazand\u0131\u011f\u0131n\u0131 belirten Do\u00e7. Dr. Emre, resim sanat\u0131nda oldu\u011fu gibi ya\u011fl\u0131 boya tablo restorasyonunda da de\u011fi\u015fik ekoller ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131 \u015fu \u00f6rnekle anlatt\u0131: \u201cKuzey Avrupa \u00fclkeleri iklim ko\u015fullar\u0131 ve ellerindeki malzemeler ile tamamen kendi restorasyon y\u00f6ntemlerini belirleyip, yamalar\u0131 balmumu ile yap\u0131\u015ft\u0131rd\u0131. Japonlar ayn\u0131 i\u015flemi ni\u015fasta, Ruslar ise bal\u0131k ya\u011f\u0131 ile uygulamay\u0131 tercih ederken, \u0130ngilizler y\u00fczeydeki verni\u011fin al\u0131nmas\u0131na \u015fiddetle kar\u015f\u0131 \u00e7\u0131kt\u0131.”<\/p>\n

\u201cTablo Restorasyonuna \u00dclkemiz Ge\u00e7 Ba\u015flad\u0131\u201d
\n<\/strong>Bat\u0131ya kar\u015f\u0131l\u0131k tuval resmiyle \u00e7ok ge\u00e7 tan\u0131\u015fan \u00fclkemizin ya\u011fl\u0131 boya tablo restorasyonuna da ge\u00e7 ba\u015flad\u0131\u011f\u0131n\u0131 ifade eden Do\u00e7. Dr. Emre, \u201c\u0130lk T\u00fcrk Resim Restorat\u00f6rleri, Pera Ressamlar\u0131 diye adland\u0131r\u0131lan, at\u00f6lyeleri t\u00fcnelde toplanm\u0131\u015f sanat\u00e7\u0131lard\u0131r. \u00d6zel koleksiyonlar i\u00e7in bu sanat\u00e7\u0131lar \u00e7al\u0131\u015f\u0131rken, m\u00fczelerdeki eserleri Cemal Tollu, \u015eemsi Arel, Ali \u00c7elebi ve Cevat Dereli gibi ressamlar restore etmi\u015flerdir\u201d dedi. K\u00fclt\u00fcrel miras\u0131m\u0131z\u0131 koruma ve onarma amac\u0131yla Rekt\u00f6r\u00a0Prof. Dr. Mahmut Ak\u2019\u0131n deste\u011fi ile Ya\u011fl\u0131 Boya Tablo Koruma-Onar\u0131m Laboratuvar\u0131’n\u0131n a\u00e7\u0131lmas\u0131ndan bahseden\u00a0Do\u00e7. Dr. Emre, insanlar\u0131n k\u00fclt\u00fcrel ge\u00e7mi\u015finin belgeleri olan eserlerin m\u00fcmk\u00fcn oldu\u011funca korunarak gelecek ku\u015faklara aktar\u0131lmas\u0131n\u0131n hedeflendi\u011fini ifade etti.<\/p>\n

\"Feyhaman
Feyhaman Duran\u2019\u0131n \u201cAtat\u00fcrk\u201d tablosunda d\u00fczeltme yapt\u0131\u011f\u0131 alan (K\u0131z\u0131l\u00f6tesi (IR) \u0131\u015f\u0131k ile inceleme)<\/figcaption><\/figure>\n

D\u00fcnyan\u0131n G\u00f6z\u00fc \u00d6n\u00fcnde Restore Edilecek
\n<\/strong>\u015eimdilerde \u00e7ok\u00e7a g\u00fcndeme gelen, d\u00fcnyan\u0131n en \u00fcnl\u00fc tablolar\u0131ndan biri olan Rembrandt’\u0131n \u201cGece Devriyesi\u201dnin, d\u00fcnyan\u0131n g\u00f6z\u00fc \u00f6n\u00fcnde restore edilece\u011fini belirten Do\u00e7. Dr. Emre, Amsterdam’daki Rijksmuseum M\u00fczesi’nde sergilenen bu \u00fcnl\u00fc tablonun restorasyon s\u00fcrecinin internet ortam\u0131nda canl\u0131 olarak yay\u0131nlanaca\u011f\u0131n\u0131 s\u00f6yleyerek \u201cBu, mesle\u011fimiz a\u00e7\u0131s\u0131ndan \u00e7ok heyecan verici bir durum.\u00a0 Restorasyon s\u00fcrecini ister m\u00fczede canl\u0131 olarak, ister internet \u00fczerinden kesintisiz takip edebilece\u011fiz. Restorasyonu b\u00fct\u00fcn d\u00fcnyada herkes izleyebilecek, bu m\u00fcthi\u015f bir \u015fey\u201d dedi.<\/p>\n