Aristoteles ve Heidegger’in sanat kuramlarında “Poiesis” ve “Phronesis”
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Date
2015
Authors
Kart, Berfin
Journal Title
Journal ISSN
Volume Title
Publisher
Uludağ Üniversitesi
Abstract
Sanatın neliği ya da neye sanat yapıtı denilebileceği tartışması Platon ve Aristoteles’ten günümüz düşünürlerine kadar uzanan bir tartışmadır. Platon sanata gerçeklikten, hakikatten uzaklaştırıcı bir işlev yüklerken; Aristoteles, iyi ya da kötü eylemlerin taklidi olan tragedya ile ilişkilendirdiği sanatı, gerçekle yüz yüze gelmenin gerçekleştiği yer olarak ifade eder. Tragedyada taklit edilen “korku” ve “acıma” eylemleri “hakikat” ile yüz yüze gelmenin aracıdır. Sanat yapıtları “katharsis”in gerçekleştiği, özünden uzaklaşmış, boyun eğmişlik süreci içerisindeki insanın, kendi kurtuluşuna, kendi doğasına geri dönüşünün birer aracı gibidir. Aristoteles gibi Heidegger’e göre de sanat, “hakikat”e ulaşma, insanın içine düştüğü “kendi-olamama” halinden kurtulmanın olanağının sunulduğu bir yerdir. Sanat, hakikatin sesinin duyulduğu, ortaya çıktığı yerdir. Ne sanat hakikatin bir taklididir ne de sanat yapıtı hakikatin bir tasarımı olarak taklittir. Sanat yapıtında hakikatin sesini duyabilme ya da hakikat ile yüz yüze gelebilme olanağını taşıyan ise insandır. İnsanın sanat denilen etkinliği gerçekleştirebilmesi ve bu etkinliğin açımladığı dünyanın bilgisine ulaşabilmesi sahip olduğu phronesis erdemiyle olanaklıdır. Sanat yapıtını ortaya koyabilmek ya da bir sanat yapıtı üzerinde düşünebilmek ancak phronenis ile mümkündür. Aristoteles’e göre praxisle değil, poiesisle ilgili bir etkinlik olan sanat, bir “yapma (making)” süreci değil, “yaratma (creating)” sürecidir. Phronesis erdemi, bu sürecin sonunda düşünüp taşınarak ortaya konulan sanat yapıtının bilgisine ulaştıracak olandır. Bu yazıda, Aristoteles ve Heidegger’de sanatın ve sanat yapıtının neliğini nasıl dile getirdikleri ve bunun Platon’un sanat görüşünden farkı ortaya konulmaya çalışılacaktır. Bu bağlamda, sanat -techne- ve zanaat arasındaki ilişki; sanatın “poiein” fiilinden türetilen “poisesis” kavramıyla ilgisi; sanat yapıtının ortaya çıkmasında “phronesis” erdeminin rolü; “katharsis”in gerçekleştiği sanat yapıtının nasıl olup da insanın kendi doğasına geri dönüşünün bir aracı olabildiği ele alınacaktır.
The debate on what art is or what characterize an artwork began with Plato and Aristotle and has continued with the contemporary thinkers up to date. At the present day, especially as a result of the popularity of postmodern art which criticizes the concept of modern art intensively, many questions on art and artworks have been put forth: ‘What is art?’ ‘How can we define art and artworks?’ ‘What is the aim of art; can it change the reality, or can it be a place in which the reality can find itself, or can or should art educate the public, or can it be regarded as a historical document for the future?’ ‘Do we need any criterion when we criticize art or a work of art?’ ‘Or do we have already any criterion of art?’ “Are art and craft the same or different?’ What is the difference between an artwork and a craft? ‘What is the specifities of the activities that create an artwork? Within the context of these essential questions, which one of them is an artwork, Mozart’s 20th Piano Concerto or Beethoven’s 5th Symphony or Pablo Picasso’s “Guernica” or “A Pair of Shoes”? Have they any special feature which makes them an artwork? Which criterions of art have been taken for granted when Manet’s “The Lunch on the Grass” which was exhibited in the Rejected Works Art Gallery and Picasso’s “Avignon” were criticized. Could we term Gaudi’s “La Sagrada Familia” or the “Eiffel Tower” or “Tatlin’s Tower” when it could have been built as an artwork”? What kind of differences are there between these two towers and Gaudi’s “La Sagrada Familia” to be or not to be called as an artwork? Can we define Piero Manzoni’s “%100 Artist’s Shit” or Damien Hirst’s “A Sheep in Formaldehyde” or Marcel Duchamp’s “Fountain” and “Bottle Rack” or Andy Warhol’s reproductions as artworks? So, what is art and what is an artwork? To answer these questions, we will deal with Plato and Aristotle’s accounts of art from ancient philosophy and Heidegger’s thoughts of art from the twentieth century’s.
The debate on what art is or what characterize an artwork began with Plato and Aristotle and has continued with the contemporary thinkers up to date. At the present day, especially as a result of the popularity of postmodern art which criticizes the concept of modern art intensively, many questions on art and artworks have been put forth: ‘What is art?’ ‘How can we define art and artworks?’ ‘What is the aim of art; can it change the reality, or can it be a place in which the reality can find itself, or can or should art educate the public, or can it be regarded as a historical document for the future?’ ‘Do we need any criterion when we criticize art or a work of art?’ ‘Or do we have already any criterion of art?’ “Are art and craft the same or different?’ What is the difference between an artwork and a craft? ‘What is the specifities of the activities that create an artwork? Within the context of these essential questions, which one of them is an artwork, Mozart’s 20th Piano Concerto or Beethoven’s 5th Symphony or Pablo Picasso’s “Guernica” or “A Pair of Shoes”? Have they any special feature which makes them an artwork? Which criterions of art have been taken for granted when Manet’s “The Lunch on the Grass” which was exhibited in the Rejected Works Art Gallery and Picasso’s “Avignon” were criticized. Could we term Gaudi’s “La Sagrada Familia” or the “Eiffel Tower” or “Tatlin’s Tower” when it could have been built as an artwork”? What kind of differences are there between these two towers and Gaudi’s “La Sagrada Familia” to be or not to be called as an artwork? Can we define Piero Manzoni’s “%100 Artist’s Shit” or Damien Hirst’s “A Sheep in Formaldehyde” or Marcel Duchamp’s “Fountain” and “Bottle Rack” or Andy Warhol’s reproductions as artworks? So, what is art and what is an artwork? To answer these questions, we will deal with Plato and Aristotle’s accounts of art from ancient philosophy and Heidegger’s thoughts of art from the twentieth century’s.
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Keywords
Aristoteles, Heidegger, Poiesis, Phronesis, Katharsis, Mimesis, Sanat, Sanat yapıtı, Aristotle, Art, Artworks
Citation
Kart, B. (2015). "Aristoteles ve Heidegger’in sanat kuramlarında “Poiesis” ve “Phronesis”". Kaygı. Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi, 25, 77-88.