{"id":14311,"date":"2026-11-05T13:01:55","date_gmt":"2026-11-05T10:01:55","guid":{"rendered":"http:\/\/www.phil.bilkent.edu.tr\/?p=14311"},"modified":"2026-11-05T13:05:16","modified_gmt":"2026-11-05T10:05:16","slug":"fotografin-arkasindaki-hikaye-brutusa-ogullarinin-cesetlerini-getiren-liktorler","status":"publish","type":"post","link":"http:\/\/www.phil.bilkent.edu.tr\/index.php\/2026\/11\/05\/fotografin-arkasindaki-hikaye-brutusa-ogullarinin-cesetlerini-getiren-liktorler\/","title":{"rendered":"Foto\u011fraf\u0131n Arkas\u0131ndaki Hikaye: Brutus\u2019a O\u011fullar\u0131n\u0131n Cesetlerini Getiren Likt\u00f6rler"},"content":{"rendered":"\t\t
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Brutus\u2019a O\u011fullar\u0131n\u0131n Cesetlerini Getiren Likt\u00f6rler (1789)<\/em>, Jacques-Louis David, Mus\u00e9e du Louvre.<\/figcaption><\/figure>

Jacques-Louis David (1748\u20131825), Brutus\u2019a O\u011fullar\u0131n\u0131n Cesetlerini Getiren Likt\u00f6rler<\/em> (1789) adl\u0131 eserinde Roma tarihinden, daha \u00f6nce hi\u00e7 resmedilmemi\u015f bir an\u0131 tasvir eder. Brutus\u2019un yar\u0131 mitolojik \u00f6yk\u00fcs\u00fc David\u2019den \u00f6nce de sanat\u0131n konusu olmu\u015ftu; ancak idam\u0131n sonras\u0131n\u0131 betimleyen bu sahne Plutarkhos ve Livius gibi tarih\u00e7ilerin metinlerinde yer almaz, b\u00fct\u00fcn\u00fcyle sanat\u00e7\u0131n\u0131n hayal g\u00fcc\u00fcn\u00fcn bir \u00fcr\u00fcn\u00fcd\u00fcr. Brutus\u2019un bu \u00f6yk\u00fcs\u00fc b\u00fcy\u00fck bir ahlaki ikilemi g\u00f6zler \u00f6n\u00fcne serer: Roma Cumhuriyeti\u2019nin kurulu\u015funa i\u015faret eden bir olay olarak Kral Tarquinius\u2019u s\u00fcrg\u00fcne g\u00f6ndermesinin ard\u0131ndan Brutus, o\u011fullar\u0131n\u0131n monar\u015fiyi yeniden kurmay\u0131 ama\u00e7layan bir tertibe kar\u0131\u015ft\u0131\u011f\u0131n\u0131 \u00f6\u011frenir. Roma\u2019n\u0131n bir daha asla krallar taraf\u0131ndan y\u00f6netilmesine izin vermeyece\u011fine yemin eden Brutus, bu yeminine ba\u011fl\u0131 kalarak kendi evlatlar\u0131n\u0131 \u00f6l\u00fcme mahk\u00fbm eder.<\/p>

Tablonun, yak\u0131n d\u00f6neme kadar g\u00f6rd\u00fc\u011f\u00fc takdir, b\u00fcy\u00fck \u00f6l\u00e7\u00fcde Frans\u0131z Devrimi ile ili\u015fkilendirilmesinden kaynaklan\u0131yordu. Eserde, Roma Cumhuriyeti\u2019nin kurucusu Brutus, cumhuriyeti korumak ad\u0131na kendi o\u011fullar\u0131n\u0131 \u00f6l\u00fcme g\u00f6nderebilen sars\u0131lmaz bir iradeye sahip olarak tasvir edilir. \u0130lkin Frans\u0131z Devrimi\u2019nin ba\u015flad\u0131\u011f\u0131 y\u0131l olan 1789\u2019da sergilenmi\u015f olmas\u0131, David\u2019in cumhuriyet\u00e7i davaya ba\u011fl\u0131l\u0131\u011f\u0131n\u0131n bir g\u00f6stergesi olarak de\u011ferlendirilmi\u015fti. Ne var ki eser hakk\u0131ndaki bu propagandist yorum sonralar\u0131 isabetsiz bulundu. Zira David 1789 y\u0131l\u0131n\u0131n ilerleyen zamanlar\u0131ndaki geli\u015fmeleri \u00f6nceden bilemezdi, dolay\u0131s\u0131yla eser ve Frans\u0131z Devrimi aras\u0131ndaki varsay\u0131lan ba\u011f sanat\u00e7\u0131n\u0131n niyetlerinden biri olamazd\u0131. B\u00f6ylece David\u2019in niyetlerinin ba\u015flang\u0131\u00e7ta d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnden \u00e7ok daha az propagandac\u0131 olmas\u0131 muhtemeldir.<\/p>

David\u2019in niyetinin, bu gelene\u011fin paradigmatik bir \u00f6rne\u011fi olarak Horatius Karde\u015flerin Yemini<\/em> (1784) tablosunun kazand\u0131\u011f\u0131 b\u00fcy\u00fck ba\u015far\u0131n\u0131n ard\u0131ndan, exempla virtutis<\/em> gelene\u011fi i\u00e7inde ba\u015fka bir resim daha yapmak oldu\u011funu d\u00fc\u015f\u00fcnmek son derece akla yatk\u0131nd\u0131r, zira Horatius Karde\u015flerin Yemini<\/em>, bu gelene\u011fin mihenk ta\u015flar\u0131ndan biridir. Ancak propagandist yorumu bir kenara b\u0131rak\u0131rsak, resmin ahlaki ve politik de\u011ferine ili\u015fkin soru daha \u00f6nemli hale gelecektir. Eserin Bat\u0131 sanat tarihindeki kendine \u00f6zg\u00fc konumunu gerek\u00e7elendirecek bi\u00e7imde, onun di\u011fer s\u0131radan exempla virtutis<\/em> resimlerinin de\u011ferini a\u015fan ba\u015fkaca bir de\u011fere sahip oldu\u011funu ileri s\u00fcrmek art\u0131k o denli kolay olmayacakt\u0131r.<\/p>

Exempla virtutis gelene\u011fi, antik kaynaklara y\u00f6nelerek erdemli davran\u0131\u015f \u00f6rneklerini se\u00e7ip sanat izleyicisine sunan neoklasik ressamlar aras\u0131nda olduk\u00e7a pop\u00fclerdi. David\u2019in Brutus\u2019u da d\u00e2hil olmak \u00fczere bu tip eserlerde ahlaki e\u011fitim amac\u0131 bulunmaktad\u0131r. Ancak Brutus, tipik bir exempla virtutis<\/em> \u00f6rne\u011finden daha incelikli bir ahlaki e\u011fitim sunar. Sanat\u0131n en \u00f6nemli i\u015flevlerinden birini ortaya koyar: Brutus \u201cbize kendimizi g\u00f6sterir\u201d.1<\/sup><\/p>

Eser, neoklasik ak\u0131m\u0131n temel \u00f6zelliklerinin bir\u00e7o\u011funu sergiler. Arka plan sade tutulmu\u015ftur; s\u00fctunlar, dikkati arka plandan uzakla\u015ft\u0131rarak \u00f6n plandaki fig\u00fcrleri vurgulayan bir perdeyle \u00f6rt\u00fclm\u00fc\u015ft\u00fcr. Fig\u00fcrler farkl\u0131 derinliklerde, kademeli olarak konumland\u0131r\u0131lm\u0131\u015ft\u0131r: Likt\u00f6rler ve Brutus\u2019un o\u011fullar\u0131n\u0131n cans\u0131z bedenleri izleyiciden en uzakta yer al\u0131rken, karanl\u0131kta oturan Brutus izleyiciye en yak\u0131n fig\u00fcrd\u00fcr. Kar\u0131s\u0131 ve k\u0131zlar\u0131 ise bu iki grup aras\u0131nda konumland\u0131r\u0131lm\u0131\u015ft\u0131r. Nihai resimdeki fig\u00fcr say\u0131s\u0131n\u0131n eskizlerine<\/a> k\u0131yasla \u00f6nemli \u00f6l\u00e7\u00fcde azalt\u0131lm\u0131\u015f olmas\u0131, esere daha yal\u0131n ve a\u011f\u0131rba\u015fl\u0131 bir hava kazand\u0131rmaktad\u0131r. Bu yal\u0131nl\u0131k hissi, \u00f6l\u00e7\u00fcl\u00fc renkler ve incelikli f\u0131r\u00e7a darbeleriyle daha da g\u00fc\u00e7lendirilmi\u015ftir. Brutus\u2019un kar\u0131s\u0131, \u00f6len o\u011fullar\u0131 Tiberius ve Titus\u2019a do\u011fru uzan\u0131yor olsa da resimde bir hareket duygusu yaratmaz; b\u00fct\u00fcn fig\u00fcrler adeta donup kalm\u0131\u015f gibidir.<\/p>

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Ne var ki, iki unsur neoklasik gelenekten ayr\u0131lm\u0131\u015ft\u0131r: kompozisyon ve \u0131\u015f\u0131k. Eser sergilendi\u011fi ilk g\u00fcnden itibaren genel olarak b\u00fcy\u00fck bir co\u015fkuyla kar\u015f\u0131lanmas\u0131na ra\u011fmen kompozisyonu bak\u0131m\u0131ndan \u00f6nemli ele\u015ftirilere konu olmu\u015ftu.2<\/sup> Ba\u015fl\u0131ca ele\u015ftiri, resmin kompozisyon birli\u011finden yoksun olmas\u0131yd\u0131. Resmin ana fig\u00fcr\u00fc, \u0131\u015f\u0131k ve yerle\u015fim bak\u0131m\u0131ndan di\u011fer ana gruptan, yani kar\u0131s\u0131 ve k\u0131zlar\u0131ndan \u00f6yle belirgin bi\u00e7imde ayr\u0131lm\u0131\u015ft\u0131r ki baz\u0131 ele\u015ftirmenler eserin b\u00f6l\u00fcnerek iki ayr\u0131 tabloya d\u00f6n\u00fc\u015ft\u00fcr\u00fclebilece\u011fini bile \u00f6ne s\u00fcrm\u00fc\u015ft\u00fcr.3<\/sup> Benzer \u015fekilde, erdemi izleyiciye \u00f6rnek olmas\u0131 beklenen ana fig\u00fcr Brutus karanl\u0131kta konumland\u0131r\u0131lm\u0131\u015ft\u0131r. Bu durum, erdemli fig\u00fcrlerin \u00f6n planda ve iyi ayd\u0131nlat\u0131lm\u0131\u015f bir \u015fekilde a\u00e7\u0131k\u00e7a tasvir edildi\u011fi Horatius Karde\u015flerin Yemini<\/em> ile keskin bir tezat olu\u015fturur. Dolay\u0131s\u0131yla \u0131\u015f\u0131\u011f\u0131n kullan\u0131m\u0131 da neoklasik gelenekten bir ba\u015fka kopu\u015fu temsil eder. Bununla birlikte, bu iki unsur eserin as\u0131l g\u00fcc\u00fcn\u00fc ve bili\u015fsel de\u011ferini olu\u015fturur.<\/p>

Sanat\u0131n bili\u015fsel de\u011feri, felsefi estetik alan\u0131ndaki ba\u015fl\u0131ca tart\u0131\u015fma konular\u0131ndan biridir. \u015e\u00fcpheci yakla\u015f\u0131m\u0131n savunucular\u0131, sanat\u0131n aktard\u0131\u011f\u0131 hakikatlerin \u00f6nemsiz oldu\u011funu ileri s\u00fcrer. Austen\u2019\u0131n Gurur ve \u00d6nyarg\u0131<\/em> gibi b\u00fcy\u00fck eseri bile \u201c\u0130nat\u00e7\u0131 gurur ve cehaletten kaynaklanan \u00f6nyarg\u0131lar, birbirine ilgi duyan insanlar\u0131 birbirinden uzakla\u015ft\u0131r\u0131r\u201d gibi s\u0131radan hakikatler i\u00e7erir.4<\/sup> \u015e\u00fcpheciler bu s\u0131radan \u00f6nermenin Austen\u2019\u0131n yard\u0131m\u0131 olmaks\u0131z\u0131n da bilinebilece\u011fi ve bunun her h\u00e2l\u00fck\u00e2rda \u015fa\u015f\u0131rt\u0131c\u0131 ya da etkileyici bir hakikat olmad\u0131\u011f\u0131ndan s\u00f6z ederler. B\u00fcy\u00fck Yunan tragedyalar\u0131 s\u00f6z konusu oldu\u011funda bile bu devasa edebiyat k\u00fclliyat\u0131nda bulabilece\u011fimiz temel hakikat, \u201cTrajik kahraman\u0131 kendi kibri mahveder\u201d kabilinden bir \u015feydir.5<\/sup> E\u011fer devasa edebiyat k\u00fclliyat\u0131ndan \u00e7\u0131karabildi\u011fimiz ba\u015fl\u0131ca hakikat buysa, sanat bili\u015fsel a\u00e7\u0131dan ger\u00e7ekten de \u00f6nemsiz bir u\u011fra\u015f olabilir.<\/p>

Peki, David\u2019in Brutus\u2019unda buldu\u011fumuz hakikat ne olabilir? Belki de eser bize \u201c\u00dclkemiz i\u00e7in b\u00fcy\u00fck fedak\u00e2rl\u0131klar yapmaya haz\u0131r olmal\u0131y\u0131z\u201d demektedir. Bu mesaj, ku\u015fkusuz, bir devrimin e\u015fi\u011finde olan Frans\u0131z kamuoyunda kar\u015f\u0131l\u0131k bulmu\u015f olmal\u0131d\u0131r. Nitekim bir\u00e7ok insan, Fransa\u2019n\u0131n iyili\u011fi i\u00e7in oldu\u011funa inand\u0131klar\u0131 \u015feyler u\u011fruna b\u00fcy\u00fck fedak\u00e2rl\u0131klar yapmalar\u0131n\u0131 gerektiren durumlarla kar\u015f\u0131 kar\u015f\u0131ya kalm\u0131\u015ft\u0131. Belki de bu durum eserin co\u015fkuyla kar\u015f\u0131lanmas\u0131n\u0131 a\u00e7\u0131klayabilir. Ancak insanlar\u0131n bunu bilmek i\u00e7in ger\u00e7ekten David\u2019in resmine ihtiyac\u0131 var m\u0131yd\u0131? Yan\u0131t \u201chay\u0131r” gibi g\u00f6r\u00fcnmektedir. David\u2019in Brutus\u2019unu hi\u00e7 g\u00f6rmemi\u015f bir\u00e7ok insan da bu hakikatin fark\u0131ndad\u0131r.<\/p>

E\u011fer resmin sa\u011f taraf\u0131ndaki gruba, yani Brutus\u2019un e\u015fine ve k\u0131zlar\u0131na odaklan\u0131rsak, ba\u015fka bir yorum olas\u0131l\u0131\u011f\u0131 ortaya \u00e7\u0131kar. Resim bize k\u00f6r\u00fc k\u00f6r\u00fcne siyasi fanatizmin tehlikelerinden bahsediyor olabilir. Bu yoruma g\u00f6re Brutus, Cumhuriyete duydu\u011fu fanatik ba\u011fl\u0131l\u0131k y\u00fcz\u00fcnden neyin ger\u00e7ekten \u00f6nemli oldu\u011funu unutmu\u015f ve kendi ailesine s\u0131rt \u00e7evirmi\u015ftir. Asl\u0131nda hayranl\u0131\u011f\u0131m\u0131z\u0131 hak eden ki\u015fi annedir. G\u00f6lgeler i\u00e7inde oturan ve bir deliyi and\u0131ran Brutus\u2019un aksine, o insanl\u0131\u011f\u0131n\u0131 kaybetmemi\u015ftir. \u00dcstelik ya\u015fad\u0131\u011f\u0131 b\u00fcy\u00fck ac\u0131ya ra\u011fmen, ba\u015flar\u0131 kesilmi\u015f karde\u015flerini g\u00f6r\u00fcnce bay\u0131lan k\u0131zlar\u0131ndan birini kollar\u0131nda tutarak \u00e7ocuklar\u0131na destek olabilmektedir.6<\/sup> Dolay\u0131s\u0131yla eser, daha \u00f6nce bahsedilen \u00f6nermenin tam tersini de aktar\u0131yor olabilir: \u201c\u00dclkenin \u00e7\u0131kar\u0131na olsa bile baz\u0131 fedak\u00e2rl\u0131klar yap\u0131lmamal\u0131d\u0131r.\u201d<\/p>

\"\"<\/p>

Benim iddiam, eserin bu iki \u00f6nerme aras\u0131nda bir tercihte bulunmad\u0131\u011f\u0131 ve her iki yorumun da e\u015fit derecede makul oldu\u011fudur. Dolay\u0131s\u0131yla ahlaki ikilem \u00e7\u00f6z\u00fcms\u00fcz kalm\u0131\u015ft\u0131r. Ancak bu bir ba\u015far\u0131s\u0131zl\u0131k de\u011fildir. E\u011fer Brutus bir ahlak veya siyaset felsefesi metni olsayd\u0131, bunu bir ba\u015far\u0131s\u0131zl\u0131k olarak g\u00f6rebilirdik. Felsefi yaz\u0131n\u0131n nihai amac\u0131 bir hakikate ula\u015fmakt\u0131r. Sonu\u00e7 kesin olarak kan\u0131tlanamasa bile en az\u0131ndan bir felsefi metni okuduktan sonra sonucun do\u011frulu\u011funa duydu\u011fumuz g\u00fcvenin artmas\u0131n\u0131 bekleriz. Sanat ise bir \u00f6nermeyi di\u011ferinden daha makul k\u0131lmak zorunda de\u011fildir. Bunun yerine \u00f6znel bir de\u011fere sahip olabilir. Bize neye inanmam\u0131z veya neye de\u011fer vermemiz gerekti\u011fini \u00f6\u011fretmese dahi, ger\u00e7ekte neye inand\u0131\u011f\u0131m\u0131z\u0131 veya neye de\u011fer verdi\u011fimizi g\u00f6sterebilir. Bu anlamda sanat bize kendimizi g\u00f6sterir.<\/p>

David\u2019in Brutus\u2019u, izleyiciye kendisi hakk\u0131nda bir \u015feyler g\u00f6steren sanat\u0131n m\u00fcstesna bir \u00f6rne\u011fidir. Kompozisyonun b\u00fct\u00fcnl\u00fckten yoksun olmas\u0131 nedeniyle g\u00f6zlerimiz Brutus ile kar\u0131s\u0131 aras\u0131nda gidip gelir. Her seferinde kime sempati duydu\u011fumuzu anlamaya \u00e7al\u0131\u015f\u0131r\u0131z. \u00c7etin karar\u0131na ra\u011fmen so\u011fukkanl\u0131l\u0131\u011f\u0131n\u0131 koruyan, demir gibi bir iradeye sahip Brutus\u2019a m\u0131, yoksa Brutus\u2019un \u00fcrpertici eyleminin ard\u0131ndan ailesinin yan\u0131nda olan kar\u0131s\u0131na m\u0131? Bu d\u00fc\u015f\u00fcnsel etkinlik arac\u0131l\u0131\u011f\u0131yla neye de\u011fer verdi\u011fimizi, ba\u011fl\u0131l\u0131\u011f\u0131m\u0131z\u0131n kimden yana oldu\u011funu \u00f6\u011freniriz. Bana g\u00f6re David\u2019in Brutus eserinin ahlaki ve politik de\u011feri budur. Propagandist yorum inand\u0131r\u0131c\u0131l\u0131\u011f\u0131n\u0131 yitirmi\u015f olsa bile eser, ola\u011fan\u00fcst\u00fc derecede politik bir eser olarak kalmay\u0131 s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr. Devrimin \u015fafa\u011f\u0131nda kamuoyunda b\u00f6ylesine g\u00fc\u00e7l\u00fc bir kar\u015f\u0131l\u0131k bulmu\u015f olmas\u0131 son derece anla\u015f\u0131l\u0131rd\u0131r. \u0130nsanlar\u0131n kimin taraf\u0131nda olduklar\u0131na karar vermek zorunda kald\u0131klar\u0131 bir d\u00f6nemde, David\u2019in eseri tam da bunu yapmalar\u0131na yard\u0131mc\u0131 olmu\u015ftur.<\/p>

Kaynak\u00e7a ve Ek Okumalar<\/strong><\/p>

Danto, Arthur (1964), \u201cThe Artworld,\u201d Journal of Philosophy<\/em> 61: 571\u2013584.<\/p>

Nanteuil, Luc de (1990), Jacques-Louis David<\/em>. New York: H.N. Abrams.<\/p>

Puttfarken, Thomas (1981), \u201cDavid\u2019s Brutus and Theories of Pictorial Unity in France,\u201d Art History<\/em> 4: 291\u2013304.<\/p>

Stolnitz, Jerome (1992), \u201cOn the Cognitive Triviality of Art,\u201d British Journal of Aesthetics<\/em> 32: 191\u2013200.<\/p>

Notlar<\/strong><\/p>

1. Danto, s. 571.<\/span><\/p>

2. Puttfarken, ss. 292\u2013293.<\/span><\/p>

3. A.g.e., s. 291.<\/span><\/p>

4. Stolnitz, s. 193.<\/span><\/p>

5. A.g.e., s. 194.<\/span><\/p>

6. Bu unsur haz\u0131rl\u0131k \u00e7al\u0131\u015fmalar\u0131nda<\/a> yer almad\u0131\u011f\u0131ndan, David\u2019in bunu resim s\u00fcrecinin ilerleyen a\u015famalar\u0131nda d\u00fc\u015f\u00fcnm\u00fc\u015f oldu\u011fu anla\u015f\u0131l\u0131yor.<\/span><\/p>

\u00a9 Mert Ate\u015fsal<\/p>

Di\u011fer Resmin Ard\u0131ndaki Hik\u00e2ye<\/em> yaz\u0131lar\u0131n\u0131 okuyun.<\/a><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Jacques-Louis David (1748\u20131825), Brutus\u2019a O\u011fullar\u0131n\u0131n Cesetlerini Getiren Likt\u00f6rler (1789) adl\u0131 eserinde Roma tarihinden, daha \u00f6nce hi\u00e7 resmedilmemi\u015f bir an\u0131 tasvir eder. Brutus\u2019un yar\u0131 mitolojik \u00f6yk\u00fcs\u00fc David\u2019den \u00f6nce de sanat\u0131n konusu […]<\/p>\n","protected":false},"author":2,"featured_media":8713,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"ngg_post_thumbnail":0,"footnotes":""},"categories":[21],"tags":[],"class_list":["post-14311","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fotografin-arkasindaki-hikaye"],"yoast_head":"\nFoto\u011fraf\u0131n Arkas\u0131ndaki Hikaye: Brutus\u2019a O\u011fullar\u0131n\u0131n Cesetlerini Getiren Likt\u00f6rler - Bilkent Philosophy<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.phil.bilkent.edu.tr\/index.php\/2026\/11\/05\/fotografin-arkasindaki-hikaye-brutusa-ogullarinin-cesetlerini-getiren-liktorler\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Foto\u011fraf\u0131n Arkas\u0131ndaki Hikaye: Brutus\u2019a O\u011fullar\u0131n\u0131n Cesetlerini Getiren Likt\u00f6rler - Bilkent Philosophy\" \/>\n<meta property=\"og:description\" content=\"Jacques-Louis David (1748\u20131825), Brutus\u2019a O\u011fullar\u0131n\u0131n Cesetlerini Getiren Likt\u00f6rler (1789) adl\u0131 eserinde Roma tarihinden, daha \u00f6nce hi\u00e7 resmedilmemi\u015f bir an\u0131 tasvir eder. 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