Tarihsel Süreçte Kullanılan İnorganik Pigment Sarılar Üzerine Bir İnceleme
Özet
Bu çalışma, Okuyucuya tarihsel süreçte kullanılagelen pigment sarıların ve onların kullanım alanlarının ne olduğu, hangi eserlerde tespit edilebildikleri gibi hususlar üzerine bir bilgilendirme sağlama saiki ile kaleme alınmıştır. Çalışma, sarı renginin ışık ile ilişkisi, bu ilişkinin sanat tarihindeki tezahürü ve sarı renginin önemi ile giriş yaparak okuyucuya sarı renginin genel özellikleri hakkında bilgilendirme yapar. Ardından tarihsel süreçte kullanılan inorganik pigmentlerden elde edilmiş olan farklı sarı renkleri sıralayarak literatür ve sanat tarihinden örnekler ile okuyucuya aktarır. Çalışma yöntem olarak kaynak tarama modeliyle elde edilen bulgular üzerine şekillenmiştir. Teorik alandan elde edilen bulgular ile sanat alanındaki örnekler görselleştirilmiş ve teori ile pratik birbirini destekleyecek şekilde okura sunulmuştur. Bu çalışma Pigment özellikleri ve tarihsel süreçte kullanılagelen pigment renklere ilişkin olarak derin araştırma yapmak isteyen ülkemizdeki araştırmacılara sarı rengi üzerinden kaynak oluşturmaktadır.
This study has been written with the aim of informing the reader about the yellow pigments traditionally used throughout history, their areas of application, and the works in which they can be identified. The study begins by discussing the relationship between the colour yellow and light, its manifestation in art history, and the significance of the colour yellow, thereby informing the reader about the general characteristics of the colour yellow. It then lists the various shades of yellow derived from inorganic pigments used throughout history, presenting examples from the literature and art history to the reader. Methodologically, the study is structured around findings obtained through a literature review. Findings from the theoretical field are visualised alongside examples from the art world, and theory and practice are presented to the reader in a way that supports one another. This study serves as a resource for researchers in our country wishing to conduct in-depth research on pigment properties and the colours of pigments used throughout history, using the colour yellow as a focal point.
Referanslar
BRANNT, William T. (1900) The Painter Gilder and Varnisher’s Companion. Philadelphia, Henry Carey Baird &Co.
CENNİNİ, Cennino (1844) A Treatise on Painting. Londra: Robson, Levey and Franklyn.
CHIARANTINI L. , GALLO F., RIMONDI V., BENVENUTI M.,
COSTAGLIOLA P., DINI A. (2015) Early Renaissance Production Recipes for Naples Yellow Pigment: A Mineralogical and Lead Isotope Study of Italian Majolica from Montelupo (Florence). Archaometry Cilt 57, Sayı 5, Sayfa 773-948.https://onlinelibrary.wiley.com/doi/epdf/10.1111/arcm.121 46?saml_referrer
COSTARAS, Nicola (1998) A Study of the Materials and Techniques of Johannes Vermeer, Studies in the History of art 1998, cilt: 55, Sayfa 144-16 https://www.jstor.org/stable/42622605
ÇAĞLARCA, Saadettin (2018) Renk ve Armoni Kuralları İstanbul: İnkılap Yayınevi
DAVIDSON, Ellis (1888) A Practical Manual of House Painting, Graining, Marbling and Sign Writing, Londra: C Lockwood & Son
Da VİNCİ, Leonardo (2006) Da Vinci’nin Not Defteri (K. Doğan Çev.) İstanbul: Carpe Diem kitap.
DOSSIE, Robert (1777) The Handmaid to the Arts, Londra: J Nourse için Basılmıştır. Basımevi bilinmemektedir
FELLER, Robert, L. (der.) (2012) Artist’s Pigments A Handbook of Their History and Characteristics Cilt I Londra: Archetype Yayıncılık.
FISTHUGH E. W. (der.)(2012) Artist’s Pigments A Handbook of Their History and Characteristics Cilt I Londra: Archetype Yayıncılık.
FRANSEN, Sietske (2012) Iconography and Identity in Early Seventeenth Century Medical Portraiture: The Case of the Unknown Physician, The British Art Journal, Cilt 12, Sayı 3 (26-31).
https://www.academia.edu/5112805/Iconography_and_Identity_in_Early_Seventeenth_Century_Medical_Portraiture_The_Ca se_of_the_Unknown_Physician_in_The_British_Art_Journal_ XII_3_2011_12_pp_26_31
GENÇ, Adem (2023) 50 Soruda Renk İstanbul: Altınbaş Üniversitesi Yayınları.
GÖTTLER, Christine (2021) Yellow, Vermillion and gold: Colour in Karel van Mander’s Schilder-Boeck. Burghartz,S. & Burkart,
L. &Göttler, C. & Rublack, U (Der.) Materialized Identities in Early Modern Culture, 1450-1750 içinde (233-280) Amsterdam University Press https://www.jstor.org/stable/j.ctv1w9m9f9.10
NİŞANYAN SÖZLÜK (2026) Türkçe Etimoloji Sözlüğü https://www.nisanyansozluk.com/
HARMANCI, Ahmet (2019) Turner’ın Renkçilik Anlayışı: Goethe Renk Öğretisi’nin Turner Resimlerine etkisi” İdil Dergisi, Sayı: 58, Sayfa 740-748 https://www.idildergisi.com/makale/pdf/1547938310.pdf
HARLEY, Rosamund Drusilla (1975) A Nineteenth Century Book of Color Samples, Bulletin of The American Institute for Conservation of Historic and Artistic Works, Yaz 1975, Sayı 2, Sayfa 49-54 http://www.jstor.com/stable/3179294
HARLEY, Rosamund Drusilla (2001) Artist’s Pigments c. 1600-1835: a Study in English Documentary Sources, Londra; Archetype Publications
HOWELL, Joyce Bernstein (1982) Eugene Delacroix and Color: Practice, Theory, and Legend Athanor dergisi, Cilt: 2, Sayfa 37-
43. https://journals.flvc.org/athanor/issue/view/5562
LAURİE, Arthur Pillans (1911) The Materials of the Painter’s Craft in Europe and Egypt: From Earliest times to the end of the XVIIth Century, With Some Account of Their Preperastion and Use. Philadelphia J.B. Lippincott Co.
LİZUN, D., KURKIEWICZ, T., SZCZUPAK, B. (2021) Exploring
Liu Kang’s Paris Practice (1929-1932): Insight into Painting Materials and Technique, Heritage dergisi, Cilt: 4, Sayı: 2, Sayfa 828-863. https://doi.org/10.3390/heritage4020046
OCVIRK, O.G., STINSON, R.E., Wigg, P. R., BONE, R.O.,
CAYTON D.L (2015) Sanatın Temelleri Teori ve Uygulama (N. B. Kuru ve A. Kuru Çev.) İzmir: Karakalem Kitabevi Yayınları
ÖZER, Deniz (2012) Toplumsal Düzenin Oluşmasında Renk ve İletişim Ordu Üniversitesi Sosyal Bilimler Araştırmaları Dergisi Cilt: 3, Sayı: 6, Sayfa 268-281. https://dergipark.org.tr/en/download/article-file/273610
KANDINSKY, Vassily (1993) Sanatta Tinsellik Üzerine İstanbul: Yapı Kredi Yayınları
KOCAMAN, Şeref (2025) Reklam Fotoğrafçılığında Görsel Uyaranların Tüketici Algısı ve Satın Alma Niyeti Üzerindeki Etkileri Tüzün, M. & Erdiren, Y., O. (Der.) Güzel Sanatlar Alanında Akademik Çalışmalar- II içinde (217-231) İstanbul: Artikel Akademi yayınları.
KÜHN, Hermann, (2012) Lead-Tin Yellow. Roy, A. (Der.) Artists Pigments A Handbook of Their History and Characteristics Cilt 2 içinde (83-112) Londra: Archetype Yayınları.
KÜHN, Hermann, CURRAN Mary (2012) Chrome Yellow and Other Chromate Pigments. Feller, R. L. (Der.) Artists Pigments
A Handbook of Their History and Characteristics Cilt 1 içinde (188-217) Londra: Archetype Yayınları.
MASTROTHEODOROS, Georgios P., BELTSİOS, Konstantinos
G. (2022) Pigments- Iron-Based Red, Yellow and Brown Ochres. Archeological and Anthropological Sciences, Cilt. 14, Sayı: 35. https://link.springer.com/article/10.1007/s12520-021-01482-2
MAYER, Ralph (1930) Artists Handbook of Materials and Techniques
PER, Meral (2012) Renk Teorilerine Tarihsel Bir Bakış Yedi: Sanat Tasarım ve Bilim Dergisi Yaz 2012, Sayı: 08 Sayfa 17-26. https://dergipark.org.tr/tr/download/article-file/203725
PENNY, Nicholas & SPRING, Marika (1995) Veronese’s Paintings in the National Gallery Technique and Materials : Part I National Gallery Technical Bulletin Cilt: 16 Sayfa 4-29. http://www.nationalgallery.org.uk/technical-bulletin/penny_spring1995
PENLEY, Aaron, E. (1867) A System of Water Colour Painting. Londra: Winsor & Newton
PLİES, Roger de (1776) Elemens de Peinture Pratique Paris:basım yeri bilinmiyor, https://archive.org/details/lmensdepeinturep00pile/page/n3/mo de/2up
PİSAREVA, Svetlana (2005) Some Occurences of Patent Yellow. Studies in Conservation, Cilt: 50, Sayı 1 Sayfa 33-36 https://www.tandfonline.com/doi/epdf/10.1179/sic.2005.50.1.3 3?needAccess=true
SEFCU, R. , CHLUMSKA, S. & HOSTASOVA, A.(2015) An
Investigation of the Lead Tin Yellows Type I and II and Their Use in Bohemian Panel Paintings From the Gothic Period. Heritage Science 3, Sayı 16. https://www.nature.com/articles/s40494-015-0045-2
SIMON, Jacob (2010) Lawrence’s Materials and Processes , National Portrait Gallery https://www.npg.org.uk/collections/research/programmes/artist s-their-materials-and-suppliers/thomas-lawrences-studios-and-studio-practice/lawrences-materials-and-processes
STOJANOVIC, M. (2018) The Colour Yellow and Its Immortal and Mortal Beauty Komunikacija i Kultura Online Yıl: 9 Sayı 9 Sayfa 262-276 https://doi.fil.bg.ac.rs/volume.php?pt=journals&issue=kkonlin e-2018 9-9&i=14
KARAÇALI, Berna (2023) Rengin Kadrajından Sanat ve Tasarımı okumak “Kırmızı-Mavi- Sarı” The Turkish Online Journal of Design Art and Communication, 2023 Cilt: 14, Sayı 01 Sayfa 1-18. https://doi.org/10.7456/tojdac.1376030
VAN HALM, Koos Levy (1998) Where Did Vermeer Buy His Painting Materials ? Theory and Practice. Studies in the History of Art, Cilt: 55 Sayfa: 136-143 https://www.jstor.org/stable/42622604
WAINWRIGHT, Ian, N. M., TAYLOR, John M. & HARLEY, R.
D. (2012) Lead Antimonate Yellow. Feller, R. L. (Der) Artists Pigments A Handbook of Their History and Characteristics Cilt 1 içinde (219-254) Londra: Archetype Publications.
WINSOR & NEWTON (1910) A Descriptive Handbook of Modern Water Colour Pigments Londra, Winsor & Newton
ZHENG, Z., PAVLOV, J., ATTYGALLE, A. B. (2017) Detection and Imaging of Chrome Yellow (Lead Chromate) in Latent Prints, Solid Residues, and Minerals by Laser-Desorption/Ionization Mass Spectrometry (LDI-MS). Journal of Mass Spectrometry. Cilt: 52, Sayı: 6, Sayfa 343-410
https://doi.org/10.1002/jms.3931
Görsel 1: Anders ZORN, Model ile Otoportre, 118 x 91 cm, T.Ü.Y.B., 1896, İsveç Ulusal Müzesi https://commons.wikimedia.org/wiki/File:Sj%C3%A4lvportr% C3%A4tt_av_Anders_Zorn_1896.jpg
Görsel 2 : J.M.W. Turner, Jakup’un Merdiveni Vizyonu, 188 x123.2 cm, 1830 T.Ü.Y.B., Tate Gallery https://commons.wikimedia.org/wiki/File:%28Barcelona%29_ The_Vision_of_Jacob%27s_Ladder_-_William_Turner_-_Tate_Britain.jpg
Görsel 3: Rafaello Sanzio, Sistine Madonnası ve detayı , T.Ü.Y.B. 1513-1514, Gemäldegalerie Alte Meister, Dresden https://upload.wikimedia.org/wikipedia/commons/7/7a/RAFA EL_- _Madonna_Sixtina_%28Gem%C3%A4ldegalerie_Alter_Meist er%2C_Dresden%2C_1513-14._%C3%93leo_sobre_lienzo%2C_265_x_196_cm%29.jpg
Görsel 4: Jacopo Tintoretto, Vincenzo Morosini Portresi ve detayı, T.Ü.Y.B. 1580-1585, National Gallery, Londra https://upload.wikimedia.org/wikipedia/commons/7/79/Jacopo _Tintoretto_-_Portrait_of_Vincenzo_Morosini_- _Google_Art_Project.jpg
Görsel 5: Paolo Veronese, Aziz Nikolas’ın kutsanması (Detay1 ve 2), T.Ü.Y.B., 286,5 cm x 175,3 cm, 1562 https://commons.wikimedia.org/wiki/File:Paolo_Veronese_-_The_Consecration_of_Saint_Nicholas_- _Google_Art_Project.jpg
Görsel 6: Johannes Vermeer, Mektup Yazan Kadın, 1665, 45 x
39.9 cm T.Ü.Y.B., National Gallery of Art https://upload.wikimedia.org/wikipedia/commons/7/7d/A_Lad y_Writing_by_Johannes_Vermeer%2C_1665-6.png
Görsel 7 :Arnold Böcklin, Pınar Başındaki Peri, 129,6 x 112,8 cm T.Ü.Y.B. 1855, Schackgalerie https://commons.wikimedia.org/wiki/File:B%C3%B6cklin_-_Nymphe_an_der_Quelle,_um_1855,_11538.jpg
Görsel 8: Thomas Lawrence, Bir Centilmenin Portresi, T.Ü.Y.B. 1810 https://static-
assets.artlogic.net/w_1600,h_1600,c_limit,f_auto,fl_lossy,q_aut o/artlogicstorage/philipmouldgallery/images/view/e5e4fa46bff0 cb1f327221a4eea3a682j/picturearchive-historicalportraits-sir-thomas-lawrence-pra-portrait-of-a-gentleman-c.-1805.jpg
