Ghiberti, Cennet’in Kapıları: Floransa Vaftizhanesi’nin Doğu Kapıları (Sanat Tarihi)

We are at the Florencia Cathedral Works Museum in Florence. We are looking at Giberti's work titled *The Gates of Heaven*. Although we are in the Museo dell'Opera del Duomo of Florence Cathedral, these doors were not made for the Florence Cathedral. They were produced for the Baptistery, an incredibly significant building in the history of Florence. The heart of Florensa is its cathedral and baptistery, two buildings standing side by side. It was the place where the citizens of Florence were baptized. Before us is an octagonal structure, like many other baptisteries. The reason these doors are called the Gates of Paradise is because of their exquisite beauty. This is based on Michelangelo, who gave them this name, but of course it is merely a legend. The doors are so beautiful that I actually said they could be the Gates of Paradise. These doors were the last series of bronze doors made for the baptistery. The first series originated from the medieval tradition. They were created by Andrea Pisano, and the subject of those doors was the life of Saint John the Baptist. Of course, a sensible decision for a nickname. The second door series was created by Giberti, although at that time he had just begun his career. He ultimately won the competition, which he and Brunelleschi had entered, and began working on the door. It would have gone into the casting phase for these well-known previous doors. When they finally finished, they took on this task. Although Giberti designed these doors specifically for the northern side They were so beautifully accepted when they were done. They were placed on the eastern side of the building, which faces the cathedral and is considered the honored side. These doors were recently placed under protection and are magnificent. Only a few years ago, they were black due to surface dirt. Now all these original gold details are visible. All these extraordinary details are visible here. We can understand why the Floransalians wanted to elevate them to the most important position. and of course, why Michelangelo called them the gates of heaven. Let us also add this information. The doors were made by the wealthiest guild in Florence. Market of the Silk Merchants We might wonder why so much effort was expended on the doors. Throughout history, doors have been places that intensely drew attention to sculptures. If you look at medieval cathedrals, their doors are usually surrounded by the most carefully crafted sculptures. But if you go back to the classical tradition, for instance, by examining Ancient Rome, There is also a significant tradition of bronze doors there. For example, there are also magnificent bronze doors at the Pantheon. It is logical that the Floransalians continued this tradition at the baptistery by requesting the copper doors. Because the Floransans believe that the origin of their baptisteries dates back to antiquity, He believed it was a classical period Roman building. The first thing I noticed as I walked toward the doors was how large they were. These are quite different from the earlier doors, which were much more Gothic in design. In particular, each of the main scenes was in the form of a four-lobed leaf, that is, a quatrefoil. It had four corners and four rounded parts. But here, instead of this four-leaf shape, Giberti is giving us a square-shaped stage with ten scenes. Look at how these square panels are actually visual fields. They allow us to look into a boundless depth. If we compare these with the previous four leaf forms, What I saw was a sculptor trying to fit into a pre-defined space. There's a sense of trust here, There is a Renaissance idea that an artist could create an entire world within this field. Previously, there was a protrusion with some figures on it and a schematic architectural setting. Here, the artist can open up and deepen that space. can be expanded and can truly create a virtual reality. As a window, the image was a highly significant idea during the Renaissance. Much has happened since Giberti's first assignment. Brunellacci, in the art of sculpture or painting He developed linear perspective, the mathematical method of creating a truly convincing visual illusion. Before us is a relief sculpture, and in fact, some of the basic figures are nearly circular. They are like three-dimensional forms standing on their own. However, as we move backward in the field, the figures become smaller and more compressed. They become defined almost exclusively by surface lines. This method of creating an illusion of space extends back to Donatello's relief of Saint George and the Dragon. A relief sculpture, also known as a flat relief. Thus, we observe a transition from this fully sculptural form almost to a drawing. Everything here is nothing but an illusion of space. At the same time, there is also an illusion of reality in terms of the figures. The figures move gracefully and are in a contrapposto stance. They are quite different from the figures on the earlier Gothic doors. More comfortable ones. This scene is taken from the book of creation in the previous verse. The story begins with the creation of Prophet Adam, the creation of Eve, and their fall from Paradise. It depicts the Prophet Noah, and then perhaps the most famous scene at this door: the scene of Esau and Jacob. Esau and Jacob were the sons of Rebecca and Isaac. Seven different scenes from this story are told within a single frame. The scene begins in the upper right corner, where we see God appearing to Rebekah. Rebecca is pregnant and wondering why there is so much turmoil in her womb, questioning God. Why do my two future children seem to be fighting already, asking questions as if they haven't even been born yet? The Creator also tells him that these two children represent two nations and two peoples. It also says that the younger one will take the place of the older one. This is certainly the exact opposite of what should be. Normally, the inheritance would have gone to the eldest son. In the next scene, Rebecca gives birth to these twins, Esau and Jacob. Then, we see a significant moment in the story turning to the right. Esau is going hunting, loves going hunting, and when he returns, he is truly hungry. He is going toward his brother Jacob, who is about to eat a meal. Can I eat? I'm dying of hunger. His brother says that if he gives him the firstborn right, he will provide his food. Then Esau gives up his firstborn rights to him. He's essentially selling his inheritance for a plate of food. Then we see him sending his son Esau ahead of him to hunt for him. Ishak likes the meat that Esav brings and says to him: When you return, you will receive my consent and I will bless you. We see Esav hunting in the right corner of the panel. In fact, it was Esau, Ishak's favorite, so to speak, his more beloved son. If Rebecca's favorite, then it's Jacob. Then what happens? In a way, the climax of the story is the next scene. Rebecca says, "I want you to bring me a few goats while you're hunting with Yakup." I will cook dinner for Baba. You will take this food and fool Ishak with it. You will make him believe that you are Esau. Thus, your older son Esau will be blessed instead of you. We see Ishak blessing Jacob, thinking he is Esau, located in the lower right. According to the story, Rebecca and Jacob deceived Isaac into blessing Jacob as his rightful son. This is a rather complex story, but the artist has managed to depict it very clearly. Renaissance artists of the early period take great pride in their knowledge of classical traditions and their ability to reinvent them. Look at the clarity of the line. Look at the clarity of geometry. All of these indicate a return to classical tradition. Moreover, round arches, Corinthian-capitated pilasters—small columns—and the contrapposto poses of figures. All of this forms a scene construction that clearly conveys this complex narrative. We see linear perspective inside the machine. We see orthogonal lines, that is, lines located on the ground. They are also available in the resorts. These lines converge at a single vanishing point in the middle. This is a masterpiece that clearly defines the field during the Early Renaissance. We can also see the early Renaissance's interest in the human body in this work. Look at the figure of Esav. Adorable contrapost stance. This place is very convincing. Everything we expect from the Early Renaissance is right here.