Hans Holbein the Younger - The Ambassadors, 1533
The most notable and famous of Holbein’s symbols in the work is the distorted skull which is placed in the bottom center of the composition. The skull, rendered in anamorphic perspective, an invention of the Early Renaissance, is meant to be a visual puzzle as the viewer must approach the painting nearly from the side to see the form morph into an accurate rendering of a human skull. While the skull is evidently intended as a vanitas or memento mori, it is unclear why Holbein gave it such prominence in this painting. One possibility is that this painting represents three levels: the heavens (as portrayed by the astrolabe and other objects on the upper shelf), the living world (as evidenced by books and a musical instrument on the lower shelf), and death (signified by the skull). It has also been hypothesized that the painting is meant to hang in a stairwell, so that persons walking up the stairs and passing the painting on their left would be startled by the appearance of the skull.
İslamcı örgüt IŞİD, Ezidi ve Alevilere saldırırken, Türkiye’de bir savunma klişesi yükseldi: “Gerçek İslam bu değil.” Çünkü gerçek İslam’ın bir hoşgörü dini olduğuna dair büyük toplumsal sözleşmeye imzalar atılmış.
Aslında İslamı doğru anlayan iki taraf var: Biri IŞİD, diğeri de ateistler. Ateistlerin de kafa kesen bir örgütü olana kadar insanları ateizmin bir hoşgörü felsefesi olduğuna ikna etmek oldukça zor görünüyor.