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TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH)

Okan Şahin

The picture without the subject in Art History defined as Kazimir Malevich’s “Black Square” is the discipline of work reveals a different dimension of Modernism. Non-figurative paintings understanding with the termination Naturalism also has the world’s transition to the real world has been well supersense tool. This trend indicators on abstract or geometric form as the picture has changed as the transmission of new reality. As a result of this, Malevich’s ‘Black Square’ is the work of artist’s known, as the presentation of the opinion that the transfer of metaphysics with his own artistic language. And when viewed from the angle of historical continuity world’s supersense geometric form as ‘square’ transmission through the shape of the fact that much before the 20th Century is discussed on another continent, but rather with a similar worldview. British occultist, mystic, alchemist, science and art dealing at the same time hermetic established in the understanding of light who grew up with the teachings depends on the Rose-Cross school, Robert Fludd, which performs as an illustration in 1617 “Dark Darkness” is a black square sample in the study was transferring his vision of the occult World. In this study those two names who lived different centuries also different geography but the same geometrical form and the same color preference transmits the view of supersense, because of that transfer offers through frames on Gnosticism, Rose-Cross School and Theosophy terms also art history discipline in the light will be described in the context Pre-Modernism and Modernism.

GNOSTİSİZM, GÜL-HAÇ VE TEOZOFİ* IŞIĞINDA İKİ KARE ÖRNEĞİ: “KOYU KARANLIKLAR” (ROBERT FLUDD) VE “SİYAH KARE” (KAZIMIR MALEVİÇ)

Okan Şahin

Sanat tarihi’nde ‘Nesnesiz Resim’ olarak tanımlanan Kazimir Maleviç’in ‘Siyah Kare’ isimli çalışması Modernizmin farklı bir boyutunu ortaya koyar. Natüralizmin sonlanışıyla birlikte non-figüratif resim anlayışı aynı zamanda reel dünyadan duyuüstü dünyaya geçişin de aracısı olmuştur. Bu eğilimin göstergesi olarak resim soyutlaşma ya da geometrik formlarla yeni gerçekliğin aktarılması şeklinde değişim göstermiştir. Bunun sonucu olarak Maleviç’in ‘Siyah Kare’ isimli çalışması, sanatçının kendi sanat diliyle aktardığı metafizik görüşün sunumu olarak bilinir. Tarihsel süreklilik açısından bakıldığındaysa duyuüstü dünyanın bir geometrik form olan ‘kare’ şekli aracılığıyla aktarımı aslında 20.yy.’dan çok daha önce başka bir kıtada fakat oldukça benzer bir dünya görüşüyle ele alınmıştır. İngiliz okültist, mistik, simyacı, bilim ve sanatla ilgilenen aynı zamanda hermetik anlayışın ışığında kurulmuş Gül-Haç okuluna bağlı öğretilerle yetişmiş olan Robert Fludd, 1617 yılında illüstrasyon olarak gerçekleştirdiği “Koyu Karanlıklar” isimli çalışmasında siyah bir kare örneğiyle kendi okült dünya görüşünü aktarmıştır. Bu çalışmada farklı yüzyıl ve coğrafyada yaşamış; fakat aynı geometrik form ve renk tercihiyle bahsedilen duyuüstü görüşü aktaran iki ismin, bu aktarımı neden ‘kare’ler aracılığıyla sundukları Gnostisizm, Gül-Haç ekolü ve teozofi ışığında aynı zamanda sanat tarihsel açıdan Modernizm öncesi/Modernizm ayrımı çerçevesinde aktarılmaya çalışılacaktır.


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APA

Şahin, O. (2019). TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH). Journal of Art History, 0(28), 103-130. https://doi.org/null


AMA

Şahin O. TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH). Journal of Art History. 2019;0(28):103-130. https://doi.org/null


ABNT

Şahin, O. TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH). Journal of Art History, [Publisher Location], v. 0, n. 28, p. 103-130, 2019.


Chicago: Author-Date Style

Şahin, Okan,. 2019. “TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH).” Journal of Art History 0, no. 28: 103-130. https://doi.org/null


Chicago: Humanities Style

Şahin, Okan,. TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH).” Journal of Art History 0, no. 28 (Jul. 2024): 103-130. https://doi.org/null


Harvard: Australian Style

Şahin, O 2019, 'TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH)', Journal of Art History, vol. 0, no. 28, pp. 103-130, viewed 20 Jul. 2024, https://doi.org/null


Harvard: Author-Date Style

Şahin, O. (2019) ‘TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH)’, Journal of Art History, 0(28), pp. 103-130. https://doi.org/null (20 Jul. 2024).


MLA

Şahin, Okan,. TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH).” Journal of Art History, vol. 0, no. 28, 2019, pp. 103-130. [Database Container], https://doi.org/null


Vancouver

Şahin O. TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH). Journal of Art History [Internet]. 20 Jul. 2024 [cited 20 Jul. 2024];0(28):103-130. Available from: https://doi.org/null doi: null


ISNAD

Şahin, Okan. TWO SQUARES EXAMPLES IN THE LIGHT OF GNOSTICISM, ROSE-CROSS AND THEOSOPHY: “DARK DARKNESS” (ROBERT FLUDD) AND “BLACK SQUARE”(KAZIMIR MALEVICH)”. Journal of Art History 0/28 (Jul. 2024): 103-130. https://doi.org/null



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Published Online30.06.2019

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