![]() ![]() Giovanni Battista Piranesi (1720-1778) gibi mimar ve düşünürlerin görsel ve yazınsal çalışmalarında söz konusu estetik ve tarihsel savlar takip edilebiliyordu. Estetik tartışmaların temeli mimarilerin tarihsel köken tartışmalarına bağlanıyor ve ‘güzel’ ile ‘yüce’ olmak üzere iki etki üzerine odaklanıyordu: ‘Güzel’i temsil ettiği düşünülen Yunan tarzı, ‘yüce’yle özdeşleştirilen Roma ve Mısır tarzlarının karşısına yerleştirilmekteydi. KLASİK İLE ‘YÜCE’ ARASINDA PİRANESİ On sekizinci yüzyılda, estetik biliminin olduğu kadar mimarlık tarihinin de doğuşu bağlamında ivme kazanan tartışmalar, mimarlık disiplinini doğal olarak etkilemişti. ![]() ![]() The aim of this paper is, therefore, to trace an imaginary line that connects the reflections of the ‘historical’ inventive strength from Fischer and Piranesi, creators of oriental architectural models that spread across Europe in the eighteenth century, contributing to the creation and popularisation of the taste for the Orient that was perceived as a chimera by the West. A similar, albeit more troubled process may be found in Giovanni Battista Piranesi (1720–78) and his crowded compositions, where Rome, Greece and Egypt find a perfect, precarious equilibrium, to the point where they collapse into his Prisons of Invention, finding a follower in the work of Jean-Jacques Lequeu. In France, as early as 1724, the Mercure de France had presented the book to its readers as ‘an incomparable work’ while in 1754 Jacques-François Blondel included it among the essential books for the study of architecture. These include the Mausoleum of Halicarnassus (I, 6), the Temple of Nineveh (III, 10) the pyramids of King Moeris (I, 11) the pyramids of Thebes (I, 13) and of King Sotis (I, 14) the obelisk of Marcus Aurelius and Lucius Verus in Corinth (I, 20). With his Entwurff einer historischen Architektur, Johann Bernhard Fischer von Erlach (1656–1723) relies on an unfettered architectural fantasy that immediately fascinates the architects of the Enlightenment: in addition to the Temple of Solomon and the most important archaeological structures of Rome, there are several reconstructions that have influenced the imagination of European architects. These relations were reflected in art and culture: the Vedute – together with maps, sculptural and architectural drawings – exposed readers to sophisticated images of this little known world. In the first half of the eighteenth century, political and economic relationships between European nations and the Ottoman Empire increased the number of travellers to sites ranging from the Syrian desert to Cairo. Therefore, restoring Piranesi, his arguments, executed works and drawings to architectural history appear as a necessity. However, most of these evaluations lack a stable historical base. Piranesi’s perception caused him to be described as madman or idiosyncratic. Thus Piranesi placed Romans in another aesthetical category which the eighteenth century called ‘the sublime’. Secondly, he distinguished Roman from Grecian architecture identified with ‘ingenious beauty’. Concerning origins, he developed a history of architecture not based on the East/West division, and supported this by the argument that Roman architecture depended on Etruscans which was rooted in Egypt. Piranesi, however, conceived of these two debates as one interrelated topic. ![]() He has thus been excluded from the ‘story’ of the progress of western architectural history. Both of these served the identification of Piranesi as ‘unclassifiable’. The former interpretation derived from Piranesi’s position on aesthetics, the latter from his argument concerning origins. The second is the mode of codification of architectural history. The vectors of approach yielding misinterpretation of Piranesi derived from two phenomena: one is the early nineteenth-century Romanticist reception of Piranesi’s character and work. But Piranesi was misinterpreted both in his day and posthumously. He is numbered foremost among the founders of modern archaeology. He posited crucial theses in the debates on the ‘origins of architecture’ and ‘aesthetics’. In the architectural, historical, and archaeological context of the eighteenth century, Italian architect Giovanni Battista Piranesi (1720-1778) played an important role. ![]()
0 Comments
Leave a Reply. |