Sanat Freud\u2019u b\u00fcy\u00fclemi\u015f, onu yarat\u0131c\u0131 d\u00fc\u015f\u00fcn\u00fcrlerin zihinlerini incelemeye itmi\u015fti. Bir yazar olarak bu ilgisi prati\u011finin \u00f6nemli bir par\u00e7as\u0131 haline geldi ve bu yarat\u0131c\u0131 dehalar\u0131 zorlayan daha derin d\u00fcrt\u00fcleri aramas\u0131na izin verdi.\u00a0Michelangelo\u2019nun Musa\u2019s\u0131<\/em><\/strong>\u00a0da dahil olmak \u00fczere bireysel sanat eserleri \u00fczerine analitik denemeler yazd\u0131 ve hatta Leonardo da Vinci \u00fczerine\u00a0\u2018Leonardo Da Vinci ve \u00c7ocuklu\u011funun Haf\u0131zas\u0131, 1910\u2019<\/em><\/strong>\u00a0adl\u0131 kitab\u0131n\u0131 yay\u0131nlad\u0131; sanat\u00e7\u0131n\u0131n \u00e7ocuklu\u011funu, cinselli\u011fini ve bir yeti\u015fkin olarak sanat\u0131na nas\u0131l yans\u0131d\u0131\u011f\u0131n\u0131 anlatt\u0131. Freud, bazen sanat denemelerine \u00e7ok fazla otobiyografik i\u00e7erik getirdi\u011fi i\u00e7in ele\u015ftirilse de, sanat\u00e7\u0131lar\u0131n ya\u015famlar\u0131n\u0131 eserleriyle \u00f6z\u00fcnde ili\u015fkilendirme bi\u00e7imi, \u015f\u00fcphesiz bug\u00fcn sanat\u0131 anlama bi\u00e7imimizi \u015fekillendirdi.<\/p>\n Freud\u2019un sanat etraf\u0131nda geli\u015ftirdi\u011fi bir ba\u015fka etkileyici teori,\u00a0\u201cd\u00fc\u015f\u00fcnsel taklitler<\/em><\/strong>\u201d kavram\u0131yd\u0131. Empati deneyimine benzer \u015fekilde, bir sanat eserinin izleyici ve sanat eseri aras\u0131nda g\u00fc\u00e7l\u00fc bir enerji al\u0131\u015fveri\u015fine neden olabilece\u011fini savundu. Freud, bu deneyimin \u00fcst d\u00fczey medeniyette ya\u015fam\u0131n temel bir par\u00e7as\u0131 oldu\u011funu savundu ve toplumda sanat\u0131n rol\u00fcn\u00fc ne kadar \u00f6nemli g\u00f6rd\u00fc\u011f\u00fcn\u00fc ortaya \u00e7\u0131kard\u0131.<\/p>\n Freud\u2019un ya\u015fam\u0131 boyunca sanatla olan ilgisi, birka\u00e7 alan\u0131 i\u00e7eriyordu. Sanat\u00e7\u0131lar\u0131n, \u00f6zellikle de R\u00f6nesans d\u00f6neminden olanlar\u0131n ya\u015famlar\u0131 ve ki\u015filikleri hakk\u0131nda kapsaml\u0131 yaz\u0131lar yazd\u0131. Freud ayn\u0131 zamanda hevesli bir sanat koleksiyoncusuydu. Hayat\u0131 boyunca, d\u00fcnyan\u0131n d\u00f6rt bir yan\u0131ndaki eski uygarl\u0131klardan 2500\u2019den fazla antikadan olu\u015fan geni\u015f bir ar\u015fiv toplad\u0131. Koleksiyonunu Viyana\u2019daki ev ofisinde ve daha sonra Londra\u2019da sergiledi. Koleksiyonunun kapsam\u0131 o kadar geni\u015fti ki, Londra\u2019daki evi, etkileyici ar\u015fivini d\u00fcnyaya sergilemek i\u00e7in 1986\u2019da Freud M\u00fczesi\u2019ne d\u00f6n\u00fc\u015ft\u00fcr\u00fcld\u00fc.<\/p>\n Freud, bu \u015fa\u015f\u0131rt\u0131c\u0131 koleksiyonu Viyana ofisinde ve daha sonra \u0130kinci D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda Nazilerden ka\u00e7mak zorunda kald\u0131\u011f\u0131nda Londra\u2019da sergiledi. Freud\u2019un kendine \u00f6zel bir sergileme tarz\u0131 vard\u0131\u2026 Freud M\u00fczesi\u2019ndeki masas\u0131nda, \u00e7al\u0131\u015f\u0131rken dokunmaktan, hatta yan\u0131nda ta\u015f\u0131maktan ho\u015fland\u0131\u011f\u0131 s\u00f6ylenen en k\u00fc\u00e7\u00fck ve en de\u011ferli nesneleri yerle\u015ftirilmi\u015f, dolaplar ise Yunan gemileri ve Eros heykelleri gibi gruplara ayr\u0131lm\u0131\u015f nesnelerle doluydu. Freud, koleksiyonunda \u00f6ne \u00e7\u0131kan ve zevk \/ ger\u00e7eklik, ya\u015fam \/ \u00f6l\u00fcm ve bilin\u00e7 \/ bilin\u00e7d\u0131\u015f\u0131 gibi d\u00fcalizmler \u00fczerine teorilerini yans\u0131tan ikiy\u00fczl\u00fc fig\u00fcrlerden \u00f6zellikle etkilenmi\u015ftir.<\/p>\n Freud\u2019un sahip oldu\u011fu bir\u00e7ok ikiy\u00fczl\u00fc fig\u00fcr de sanat koleksiyonu ve fikirleri aras\u0131nda bir \u00f6rt\u00fc\u015fme oldu\u011funu g\u00f6steriyor. Roma\u2019n\u0131n ba\u015flang\u0131\u00e7 ve biti\u015f tanr\u0131s\u0131 Janus\u2019un bronz bir t\u0131ls\u0131m\u0131 ve bir taraf\u0131nda maenad y\u00fcz\u00fc, di\u011fer taraf\u0131nda satir bulunan bronz bir kap iki \u00f6nemli \u00f6rnektir. Dualizm, Freud\u2019un d\u00fc\u015f\u00fcncesinin \u00f6nemli bir par\u00e7as\u0131yd\u0131 ve hazz\u0131n ger\u00e7ekli\u011fe kar\u015f\u0131 ilkeleri, libido ve sald\u0131rganl\u0131k aras\u0131ndaki ba\u011flant\u0131 ve Eros ve Thanatos olarak adland\u0131r\u0131lan ya\u015fam ve \u00f6l\u00fcm i\u00e7g\u00fcd\u00fcleri d\u00e2hil olmak \u00fczere bir\u00e7ok teorisine yans\u0131d\u0131.<\/p>\n Freud\u2019un bilgelik ve sava\u015f tanr\u0131\u00e7as\u0131 Athena heykelci\u011fi yaz\u0131 masas\u0131n\u0131n ortas\u0131na oturdu\u011fu en de\u011ferli e\u015fyalar\u0131ndan biriydi. Bir Yunan orijinalinin kopyas\u0131 olan Freud\u2019un versiyonu b\u00fcy\u00fck olas\u0131l\u0131kla MS 1. veya 2. y\u00fczy\u0131la aittir. Freud, \u0130kinci D\u00fcnya Sava\u015f\u0131\u2019ndaki Nazi istilalar\u0131n\u0131n ard\u0131ndan Avusturya\u2019dan Londra\u2019ya ka\u00e7t\u0131\u011f\u0131nda Athena\u2019y\u0131 onunla birlikte ka\u00e7\u0131rd\u0131 ve heykel bug\u00fcn hala Londra\u2019daki m\u00fczesinde masas\u0131nda gururla oturmakta. Masan\u0131n sa\u011f taraf\u0131nda \u00f6zellikle de\u011ferli bir nesne duruyor: Antik M\u0131s\u0131r tanr\u0131s\u0131 Thoth\u2019un mermer bir heykelci\u011fi. Freud\u2019un sad\u0131k hizmet\u00e7isi (ve \u00f6zenli d\u00fczenini korurken k\u00fcmelenmi\u015f koleksiyonunun tozunu alma ustas\u0131) Paula Fichtl, doktorun her sabah Thoth\u2019un \u015fi\u015fman, babun benzeri kafas\u0131n\u0131 ok\u015fad\u0131\u011f\u0131n\u0131 ve yazarken derin d\u00fc\u015f\u00fcncelere dald\u0131\u011f\u0131n\u0131 hat\u0131rl\u0131yor. Thoth, Freud\u2019un ilgisini \u00e7eken hiyeroglifler, yaz\u0131l\u0131 semboller icat etmekle tan\u0131n\u0131r. M\u00fczenin e\u011fitim g\u00f6revlisi Stefan Marianski, \u201cBelki de Freud\u2019un koleksiyonlar\u0131 ile teorik \u00e7al\u0131\u015fmalar\u0131 aras\u0131ndaki ba\u011flant\u0131lar en a\u00e7\u0131k \u015fekilde M\u0131s\u0131r hiyerogliflerine olan ilgisinde g\u00f6sterilmi\u015ftir\u201d diyor. \u201cBazen r\u00fcyalar\u0131 do\u011fru ara\u00e7larla de\u015fifre edilebilen hiyeroglif metinlerle kar\u015f\u0131la\u015ft\u0131rd\u0131.\u201d<\/p>\n Freud\u2019un teorilerinin, 20. y\u00fczy\u0131l\u0131n ba\u015flar\u0131ndaki S\u00fcrrealist Hareket \u00fczerinde \u00f6zellikle derin bir etkisi oldu. Hareket sanat\u00e7\u0131lar\u0131 fikirlerini kamuoyuna sunarak onu her zamankinden daha pop\u00fcler hale getirdiler. \u0130konik metni\u00a0\u2018R\u00fcyalar\u0131n Yorumu, 1899\u2019<\/em><\/strong>\u00a0S\u00fcrrealist sanat\u00e7\u0131lar i\u00e7in \u00f6zellikle \u00f6nemliydi. Freud\u2019un \u2018\u2019r\u00fcyalar\u0131n, \u00e7o\u011fu zaman erotik veya cinselle\u015ftirilmi\u015f en i\u00e7teki arzular\u0131m\u0131zla ilgili gizli anlamlar\u0131 a\u00e7\u0131\u011fa \u00e7\u0131karabilece\u011fi\u2019\u2019 inanc\u0131yla ba\u011flant\u0131 kuran S\u00fcrrealistler, \u00e7ok \u00e7e\u015fitli teknikler ke\u015ffettiler ve ola\u011fan\u00fcst\u00fc karma\u015f\u0131k, bilin\u00e7siz r\u00fcyalar d\u00fcnyas\u0131n\u0131 sanatlar\u0131na ta\u015f\u0131yarak \u00f6nc\u00fc oldular. Bir ki\u015finin bilin\u00e7alt\u0131n\u0131n derinliklerinden gelen yarat\u0131c\u0131l\u0131\u011f\u0131n, bilin\u00e7li d\u00fc\u015f\u00fcncenin herhangi bir \u00fcr\u00fcn\u00fcnden daha g\u00fc\u00e7l\u00fc ve \u00f6zg\u00fcn olabilece\u011fine inan\u0131yorlard\u0131. Bu inan\u00e7la yaz\u0131lar\u0131n\u0131 ve sanatlar\u0131n\u0131 canland\u0131rmak i\u00e7in, Freud ve di\u011fer psikanalistlerin hastalar\u0131n\u0131n bilin\u00e7d\u0131\u015f\u0131 d\u00fc\u015f\u00fcncelerini y\u00fczeye \u00e7\u0131karmak i\u00e7in kulland\u0131klar\u0131 \u00e7e\u015fitli tekniklerin \u00e7o\u011funu \u00f6d\u00fcn\u00e7 ald\u0131lar.<\/p>\n 1924\u2019te, Bat\u0131, Birinci D\u00fcnya Sava\u015f\u0131\u2019ndan sonra iyile\u015firken,\u00a0Frans\u0131z \u015fair Andr\u00e9 Breton<\/strong>\u00a0yepyeni bir devrimin manifestosunu yay\u0131nlad\u0131: S\u00fcrrealizm olarak bilinen sanatsal, entelekt\u00fcel ve edebi hareket. Bu noktadan II.D\u00fcnya Sava\u015f\u0131\u2019n\u0131n sonuna kadar, Breton\u2019a kat\u0131lan sanat\u00e7\u0131lar, yazarlar ve ayd\u0131nlar, sava\u015f sonras\u0131 toplumun a\u015f\u0131r\u0131 ak\u0131lc\u0131l\u0131\u011f\u0131 ve bask\u0131c\u0131 d\u00fczeni olarak g\u00f6rd\u00fckleri \u015feyi yarat\u0131c\u0131 bir \u015fekilde baltalamaya \u00e7al\u0131\u015ft\u0131lar. Bunu bilin\u00e7ten \u2013 zihnin o serebral, kurallara ba\u011fl\u0131 k\u0131sm\u0131ndan \u2013 \u00fcretilen i\u015fi \u00fcreterek de\u011fil, bilin\u00e7d\u0131\u015f\u0131na, arzusuna, hayaline, irrasyonel k\u0131sm\u0131na dokunarak ba\u015fard\u0131lar. Breton manifestosunda\u00a0\u201cSevgili hayal g\u00fcc\u00fc\u201d\u00a0<\/strong>diye yazm\u0131\u015ft\u0131,\u00a0\u201csende en \u00e7ok sevdi\u011fim \u015fey, senin tavizsiz kaliten.\u201d<\/strong><\/p>\n Bir\u00e7ok S\u00fcrrealist, bilin\u00e7siz d\u00fc\u015f\u00fcnceleri serbest b\u0131rakabilece\u011fine inand\u0131klar\u0131 bir \u00e7al\u0131\u015fma \u015fekli olarak Freud\u2019un serbest \u00e7a\u011fr\u0131\u015f\u0131m ve otomatik \u00e7izim tekniklerini benimsedi. Psikolojide,\u00a0\u201cotomatizm\u201d<\/strong>\u00a0bilin\u00e7li zihnin kontrol\u00fc alt\u0131nda olmayan istemsiz eylemleri ve s\u00fcre\u00e7leri ifade eder \u2013 \u00f6rne\u011fin, r\u00fcya g\u00f6rme, nefes alma veya gergin tikler. Otomatizm, kendili\u011finden veya otomatik yazma, boyama ve \u00e7izim gibi S\u00fcrrealist tekniklerinde rol oynar.\u00a0 Bunlar, Paul Klee ve Joan Miro\u2019nun serbest\u00e7e d\u00f6nen \u00e7izgilerinde g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, \u00f6ng\u00f6r\u00fclemeden otomatik yazma veya serbest ak\u0131\u015fl\u0131, do\u011fa\u00e7lama y\u00f6ntemlerle \u00e7izim ve boyamay\u0131 i\u00e7erir. Kolaj, sanat\u00e7\u0131lar\u0131n h\u0131zl\u0131 \u00e7al\u0131\u015fmalar\u0131na olanak tan\u0131yan ve \u00e7at\u0131\u015fan kaynaklardan gelen g\u00f6r\u00fcnt\u00fcleri garip ve beklenmedik \u015fekillerde birle\u015ftiren pop\u00fcler bir teknikti. Parisli S\u00fcrrealist grubun ba\u015f\u0131ndaki Frans\u0131z \u015fair Andre Breton, bu fikirleri \u201cAkl\u0131n uygulad\u0131\u011f\u0131 herhangi bir kontrol\u00fcn yoklu\u011funda, t\u00fcm ahlaki ve estetik de\u011ferlendirmelerin d\u0131\u015f\u0131nda ifade edilen d\u00fc\u015f\u00fcnce\u201d olarak adland\u0131rd\u0131. Bu fikirler, s\u0131ras\u0131yla, Willem de Kooning ve Jackson Pollock d\u00e2hil olmak \u00fczere 1950\u2019lerde Amerikan Soyut Ekspresyonistlerin sezgisel sanat\u0131n\u0131 \u015fekillendirdi.<\/p>\n Baz\u0131 S\u00fcrrealistler, garip, alternatif bir ger\u00e7ekli\u011fin \u015fa\u015f\u0131rt\u0131c\u0131 bir \u015fekilde hayattaki benzer tasvirlerini yaratarak, Freudcu bir d\u00fcnyay\u0131 \u00e7a\u011f\u0131rmak i\u00e7in kendi r\u00fcyalar\u0131ndan ve k\u00e2buslar\u0131ndan ilham ald\u0131lar. \u00d6rne\u011fin Salvador Dali\u2019nin tuhaf, mistik manzaralar\u0131nda nesneler \u00e7arp\u0131t\u0131l\u0131r ve canavarca yarat\u0131klara d\u00f6n\u00fc\u015ft\u00fcr\u00fcl\u00fcrken, ev i\u00e7i bir sahne korkun\u00e7 bir k\u00e2busa d\u00f6n\u00fc\u015f\u00fcr. Dorothea Tanning resimlerinde s\u0131kl\u0131kla r\u00fcyalara g\u00f6nderme yapar. Tanning insanlar\u0131n kendi i\u00e7 d\u00fcnyalar\u0131na, r\u00fcyalar\u0131na kulak vermesi gerekti\u011fini d\u00fc\u015f\u00fcn\u00fcyor. Bir keresinde \u00e7iftli\u011finin kap\u0131s\u0131na ay\u00e7i\u00e7e\u011fi tohumlar\u0131 eken Tanning bu bitkilerden b\u00fcy\u00fclenmi\u015f. \u2018Eine Kleine Nachtmusik\u2019 tablosundaki ay\u00e7i\u00e7e\u011fini \u2018gen\u00e7li\u011fin y\u00fczle\u015fmek ve u\u011fra\u015fmak zorunda oldu\u011fu her \u015feyin sembol\u00fc\u2019 olarak g\u00f6rd\u00fc\u011f\u00fcn\u00fc ve \u2018bilinmeyen g\u00fc\u00e7lerle yapt\u0131\u011f\u0131m\u0131z bitmeyen sava\u015f\u0131 temsil etti\u011fini\u2019 s\u00f6yl\u00fcyor. Hem bebe\u011fin hem de k\u0131z\u0131n giydi\u011fi giysilerin y\u0131rt\u0131k hali ve ay\u00e7i\u00e7e\u011fiyle kar\u015f\u0131la\u015fmas\u0131n\u0131, zorlu g\u00fc\u00e7lerle bir t\u00fcr m\u00fccadele ya da kar\u015f\u0131la\u015fma ya\u015fand\u0131\u011f\u0131n\u0131, yani bir \u00e7e\u015fit\u00a0\u2018zorluklarla ba\u015fa \u00e7\u0131kman\u0131n sembol\u00fc\u2019\u00a0<\/strong>olarak g\u00f6r\u00fcyor.<\/p>\n Dali, g\u00f6r\u00fcnt\u00fclerinin tam uykuya dalarken g\u00f6rece\u011fi vizyoner r\u00fcyalar\u0131ndan geldi\u011fini iddia ederek bu a\u015famaya \u201canahtarl\u0131 uyku\u201d ad\u0131n\u0131 verdi. Freud\u2019un 1919\u2019da yay\u0131nlanan The Uncanny (Tekinsiz) makalesi de S\u00fcrrealist sanat \u00fczerinde kal\u0131c\u0131 bir etki yaratt\u0131. Freud, tekinsizli\u011fin olu\u015fumunun sadece zihinsel belirsizli\u011fe ba\u011flanarak a\u00e7\u0131klanamayaca\u011f\u0131 iddias\u0131yla ikinci fakt\u00f6r\u00fcn alt\u0131n\u0131 \u00e7izer. Buna g\u00f6re, tekinsizlik, sadece, zaten bilindi\u011fi varsay\u0131lan bir \u015feyin kazand\u0131\u011f\u0131 yeni kavray\u0131\u015fla ortaya \u00e7\u0131kan yabanc\u0131l\u0131k niteli\u011finden do\u011fan bir yeniden alg\u0131lan\u0131\u015f de\u011fil; ayn\u0131 zamanda, bilin\u00e7alt\u0131nda bast\u0131r\u0131lanlar\u0131n geri d\u00f6nmesiyle y\u00fczeye \u00e7\u0131kan korku ve kayg\u0131d\u0131r. Bir ba\u015fka deyi\u015fle, \u201cbast\u0131r\u0131lan\u0131n geri d\u00f6n\u00fc\u015f\u00fc\u201dn\u00fc m\u00fcmk\u00fcn k\u0131lan \u015feydir. Dolay\u0131s\u0131yla mutlak bir son olarak tekinsizlik hissine sebep olan her \u015fey, t\u00fcm ortak y\u00f6nleri ve k\u00f6kleri ile sunulmu\u015f olur. Freud, \u201ctekinsizli\u011fin\u201d bir zamanlar rahats\u0131z edici olan ve rahats\u0131z edici olana tan\u0131d\u0131k gelen bir \u015feyin terc\u00fcmesi oldu\u011funu ve onu tuhaf bir \u015fekilde tan\u0131d\u0131k hale getirdi\u011fini savundu, \u00f6rne\u011fin canlanan \u00fcrk\u00fct\u00fcc\u00fc bebekler, ikizler veya aynalar ve g\u00f6lgeler gibi. Bu teoriler, heykel, foto\u011fraf ve film dahil olmak \u00fczere geni\u015f bir medya yelpazesinde \u00e7al\u0131\u015fan sanat\u00e7\u0131lar aras\u0131nda son derece pop\u00fcler oldu. Birinci D\u00fcnya Sava\u015f\u0131\u2019n\u0131n ard\u0131ndan, Freud\u2019un tekinsizlik \u00fczerine teorileri pek \u00e7ok ki\u015fide \u00f6zellikle sars\u0131c\u0131 bir rezonansa sahipti, \u00e7\u00fcnk\u00fc bir zamanlar s\u0131radan ve tan\u0131d\u0131k olan korku ve tehditkara d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fc. Amerikal\u0131 foto\u011fraf sanat\u00e7\u0131s\u0131 Man Ray\u2019in 1921\u2019de Cadeau\u2019da yass\u0131 \u00fct\u00fcy\u00fc silaha d\u00f6n\u00fc\u015ft\u00fcrd\u00fc\u011f\u00fc gibi, Hans Bellmer\u2019in unutulmaz bebekleri de bu tekinsiz niteli\u011fe b\u00fcr\u00fcnd\u00fc.<\/p>\n Freud \u201cS\u00fcrrealistler beni koruyucu azizi olarak se\u00e7tiklerinde\u201d diye yazd\u0131\u011f\u0131 vakit \u00a0biraz \u015fa\u015fk\u0131n ve kafas\u0131 kar\u0131\u015f\u0131k oldu\u011fu s\u00f6yleniyordu. Sanatlar\u0131n\u0131n \u00e7o\u011fundan etkilenmeden, s\u00fcrrealistlerin otomatik d\u00fc\u015f\u00fcnce yan\u0131lsamas\u0131 ve r\u00fcya benzeri imgeler yaratma giri\u015fimlerinin fazla bilin\u00e7li oldu\u011funu ve ikna edici olmak i\u00e7in ego taraf\u0131ndan y\u00f6nlendirildi\u011fini savundu.<\/p>\n S\u00fcrrealistler, Freud\u2019un teorilerini modern ve \u00e7a\u011fda\u015f sanat d\u00fcnyas\u0131nda pop\u00fclerle\u015ftirmek i\u00e7in \u00e7ok \u015fey yapt\u0131lar. Miraslar\u0131n\u0131 takip edecek en \u00f6nemli sanat\u00e7\u0131lardan biri Frans\u0131z heykelt\u0131ra\u015f Louise Bourgeois idi. 20. y\u00fczy\u0131l\u0131n en iyi sanat\u0131n\u0131n g\u00fcnah \u00e7\u0131karan, otobiyografik bir unsur oldu\u011funu ve \u201cbir t\u00fcr psikanaliz\u201d oldu\u011funu savundu. Sanat\u0131n\u0131n \u00e7o\u011funun ilham kayna\u011f\u0131 olarak kendi sorunlu \u00e7ocuklu\u011fundan bahsederek, yeti\u015fkin hayat\u0131n\u0131n b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fcnde d\u00fczenli olarak haftada d\u00f6rt kez psikanalize gitti. Bourgeois\u2019n\u0131n sanat eserleri cinsel imalar ile dolup ta\u015f\u0131yor ve Freud\u2019un toplumsal cinsiyet teorilerine, \u00f6zellikle de kimli\u011fimizin hem erkek hem de kad\u0131n y\u00f6nlerine sahip oldu\u011fumuz inanc\u0131na at\u0131fta bulunuyor.\u00a0\u2018Janus Fleuri, 1968\u2019<\/em><\/strong>, iki b\u00f6l\u00fcml\u00fc, melez bir cinselli\u011fe sahiptir ve korkun\u00e7 grafik\u00a0\u2018The Destruction of the Father (Baban\u0131n Y\u0131k\u0131m\u0131), 1974\u2019\u00a0<\/em><\/strong>, babas\u0131n\u0131 ger\u00e7ekten Freudyen bir senaryoda yok etmeyi tasavvur eder.<\/p>\n S\u00fcrrealist manzaralar, g\u00f6r\u00fcnt\u00fc i\u00e7in farkl\u0131 bir kayna\u011fa ba\u015fvurdu: bilin\u00e7alt\u0131 zihin. Burada g\u00f6sterilen manzaralar, r\u00fcyalar\u0131n, mitlerin ve fantezilerin esrarengiz, bazen anla\u015f\u0131lmas\u0131 zor imgelerini yans\u0131t\u0131r. Da\u011flar, tepeler veya manzaralar gibi tan\u0131nabilir jeolojik unsurlar\u0131n olmad\u0131\u011f\u0131 zamanlarda, bu \u00e7al\u0131\u015fmalar peyzaj t\u00fcr\u00fcn\u00fcn geleneksel beklentilerini kar\u0131\u015ft\u0131r\u0131yor ve ruhun i\u00e7 d\u00fcnyas\u0131n\u0131n, bedenlerimizin d\u0131\u015f\u0131ndaki d\u00fcnya kadar karma\u015f\u0131k ve ke\u015fif i\u00e7in olgun oldu\u011funu \u00f6ne s\u00fcr\u00fcyor.<\/p>\n \u00d6rne\u011fin\u00a0K\u00fcbal\u0131 ressam Wifredo Lam\u2019\u0131n \u2018Orman\u2019\u00a0<\/em><\/strong>adl\u0131 eserinde d<\/em>\u00f6rt yar\u0131 insan, yar\u0131 hayvan fig\u00fcr\u00fc, abart\u0131l\u0131 elleri ve ayaklar\u0131 ve Afrika maskelerini an\u0131msatan y\u00fczleri yan yana duruyor. K\u00fcbist tarzda, v\u00fccutlar\u0131 mant\u0131ksal olarak birbirine uymayan ayr\u0131 par\u00e7alara b\u00f6l\u00fcnm\u00fc\u015f. Fantastik g\u00f6r\u00fcn\u00fcmleriyle, sanat\u00e7\u0131n\u0131n r\u00fcyalar\u0131ndan ya da muhtemelen bilin\u00e7d\u0131\u015f\u0131ndan, \u00f6zellikle S\u00fcrrealistleri ilgilendiren zihnin i\u015fleyi\u015finden \u00e7\u0131km\u0131\u015f gibi g\u00f6r\u00fcn\u00fcyorlar.<\/p>\n Ba\u015fka bir S\u00fcrrealist ressam\u00a0Max Ernst\u2019in\u00a0 \u2018<\/em><\/strong>\u0130ki \u00c7ocuk Bir B\u00fclb\u00fcl Taraf\u0131ndan Tehdit Ediliyor\u2019<\/em><\/strong>, resmine bakal\u0131m. Ernst, \u00e7ocukken k\u0131zam\u0131k hastal\u0131\u011f\u0131na yakaland\u0131\u011f\u0131nda ya\u015fad\u0131\u011f\u0131 bir \u201cate\u015fin\u201d, resminde ortaya \u00e7\u0131kan unutulmaz sahneyi bestelemeye ilham verdi\u011fini s\u00f6yledi. Kolaj ve resmi birle\u015ftirerek, r\u00fcya benzeri boyal\u0131 bir manzaraya ah\u015fap bir kap\u0131, bir oyuncak evin b\u00f6l\u00fcmleri ve bir kap\u0131 tokma\u011f\u0131 ili\u015ftirdi. Kompozisyona mavi bir g\u00f6ky\u00fcz\u00fc h\u00e2kim ve i\u00e7inde k\u00fc\u00e7\u00fck bir b\u00fclb\u00fcl iki gen\u00e7 k\u0131z\u0131n \u00fczerinde geziniyor. K\u0131zlardan biri b\u00fcy\u00fck bir b\u0131\u00e7akla b\u00fclb\u00fcle do\u011fru ilerliyor. Di\u011feri yemye\u015fil \u00e7imenlerin \u00fczerinde bayg\u0131n halde yat\u0131yor. Bu geli\u015fmekte olan draman\u0131n sa\u011f\u0131nda, bir adam evin \u00e7at\u0131s\u0131na hafif\u00e7e ad\u0131m at\u0131yor. Bir kolunda bir \u00e7ocu\u011fu tutuyor ve di\u011ferini sanki bu sahneden bir ka\u00e7\u0131\u015fa g\u00f6t\u00fcrecekmi\u015f gibi resmin kenar\u0131ndan \u00e7\u0131k\u0131nt\u0131 yapan kap\u0131 tokma\u011f\u0131na uzat\u0131yor. Bu tokmak, adam ve kollar\u0131ndaki \u00e7ocukla bir aile olu\u015fturan anne sembol\u00fc olarak yorumlanm\u0131\u015ft\u0131r. Ayr\u0131ca, baz\u0131lar\u0131nca \u00f6tesi bilinmeyen bir portal a\u00e7mak i\u00e7in kullan\u0131lan cihaz olarak yorumland\u0131.<\/p>\n![\"Musa](\"https:\/\/i0.wp.com\/www.mukavemet.org\/wp-content\/uploads\/2021\/01\/Musa-Heykeli-min.jpg?resize=696%2C497&ssl=1\" "\\"Freud'un")
<\/a>Freud\u2019un Sanat Koleksiyonerli\u011fi<\/strong><\/h2>\n
<\/a><\/a><\/a><\/a><\/a><\/a><\/a>Sigmund Freud\u2019un Teorilerinin S\u00fcrrealist Sanat \u00dczerindeki Etkileri<\/strong><\/h2>\n
<\/a><\/a><\/a><\/a><\/a><\/a><\/a>Sigmund Freud\u2019un Teorileri ve G\u00fcn\u00fcm\u00fcz Sanat\u0131na Etkisi<\/strong><\/h2>\n
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