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The American ceramic artist Peter Voulkos (1924-2002), considered one of the pioneers of Contemporary Ceramic Art, used pottery wheel skilfully during his time as an educator at Otis Art Institute. The ceramics he shaped on pottery wheel helped to remove the mental boundaries between art and craft and had an important place in the art discipline. Voulkos and his students have pushed the boundaries by exploring a world beyond technical boundaries and traditional production. Voulkos's artistic productions were influenced by his years at the Archie Bray Foundation (1951-1954), Black Mountain College, Japanese ceramic culture, Zen Buddhism, classical Flamenco, jazz music and artists from different disciplines. Voulkos was also influenced by Abstract Expressionism, which stripped from traditional aesthetic, political and moral values and challenged the traditional pictorial realm. Contrary to the masters who lived in the past, the Modernists emphasized the flatness of the canvas, which inspired Voulkos and had been seen as negativity for thousands of years; stresses the plasticity of the material by including the cracking during forming, drilling, cutting and tearing. Peter Voulkos, who directs contemporary ceramic art, is an important breaking point in ceramic art. Within the scope of this paper, Peter Voulkos had been dealt with within the framework of the non-functional ceramics he brought to the forefront in the art of ceramics and the interactions that brought him to this point.
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The most difficult question in portrait art of the Roman Imperial Period is dating of a piece of art together with questions whether it is a formal or private portrait. The discussion on the male head brought to the museum by a private person is exactly in this direction. Although it is difficult to date the piece from Kayseri, of which finding place and structure relation are unknown, based on hairstyle and physiognomical features, the period suggested by S. Sağlan is not also possible. Kayseri piece which is intended to be dated to the Traianus period based hairstyle has been compared with four portrait types of Traianus in its chronological order in my study and has been stated why it could not be dated to this period. Additionally, the sentence “Veristic/realistic physiognomy continued until the middles of IInd century BC starting from Vespasianus time during the Roman Imperial Period” has also been interpreted and this historical process has been evaluated within the scope of integrity. It was also supported by me that realism in the true sense in Roman Imperial Period started with the first emperor of the Flavian Dynasty but it was explained with samples that this realism was not as same as veristic physiognomy during Roman Republican Period.
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Pomegranate, had been an important fruit for various civilizations in their cultures, mythologies, narratives, tales and arts, starting from the first ages and always finding place with its symbolic aspect attributed with both direct and different meanings and countless benefits in health aspects. Pomegranate can be often encountered in different cultures as well as Turkish mythology and culture, seen as the symbol of all births, growth and the idea of reproduction, the representation of abundance and the holy fruit of paradise in religious perspective. It can be seen that the subjects and symbols of mythology are recurrently contextualized in each era of the Turkish painting arts; interpreted in different styles and transformed into work of arts. Starting especially from the establishment of the Republic, as a state policy, the meeting of the arts with the community has been considered significant and all cultural values, mythological narrations have been important subjects taking place in painting arts. Pomegranate, with its important place in Turkish mythology, can be seen as miniatures from the beginning of Turkish Painting Arts history and reaching today with its significance of being an important mythological subject. This study examines the paintings of contemporary Turkish painting artists who hold pomegranate symbol, in aesthetic aspect and shows the reflections of our mythological richness to the painting arts. Artists’ production of works, utilized from Turkish mythology, retention of value judgements, religious beliefs, symbolic approaches, ethical approaches and modus vivendi in myths and legends of Turkish culture and handing down the next generations carry significant importance.
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All objects, concepts, facts and events that exist in life are resized in a plastic language in accordance with the subjective perspectives of the artists. Artistic perception and associated productions differ in parallel with the combination of many social factors such as religion, culture and politics. In this context, all images that are subject to art should be evaluated according to the conditions of the age of the artists. “Woman”, positioned with different meanings in societies in almost every period of human history, has taken its place as an image in art from past to present. In prehistoric societies, the belief that women are sacred beings based on fertility: it is reflected in the cult of the mother goddess, which is one of the first ceramics of human history. However, with the formation of patriarchal societies, the approaches to the female gender proceed negatively. Especially in today’s Turkey; the woman is still marginalized and passivated. In our country, on the grounds of social traditions and beliefs! incidents such as violence against women and murder continue. In the scope of the research, by limiting the female image specific to ceramic art, current samples that transfer to the social position of women in Turkey took place. However, the focus of this work is ceramic artist Füsun Kavalcı, who has established her artistic productions for many years on the axis of woman image. The artist transferred the social roles imposed on the Turkish woman to her works with a minimalist expression in her imagination. Kavalcı has also brought technical and aesthetic contemporary expansions to this field by integrating materials such as neon and aluminium to its ceramics.
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It takes light for the shadow to form. Shadow formed by the light has been a concept that ascribed a meaning for humans starting in the early ages. Shadows, which the first man described as a divine phenomenon, also have an important place in the history of art. The first people attributed divine power on their shadows and believed they gained life by drawing them from their edges onto cave walls. Shadow has been a technique for the artists for many years afterwards. They have developed a technique of drawing portraits by drawing from the edges of their shadows, which are reflected on the canvas or plane. The fear, adrenaline and delusion of shadows also provide an inspiration for artists. The illusion of shadow is also emphasized in the metaphor described in Plato's allegory of the cave, in which prisoners make the shadows they see on the wall identical to real life, and in which some prisoners cannot be convinced that shadows are not real by the other prisoners who experienced the real life out of prison. In this context, the present study examined Plato's allegory of the cave and the artists who used shadows in art history as the main element in their works to exploit the misleading properties of shadows. Within the scope of the article, the concept of shadow were examined through; Plato's allegory of the cave and Picasso in the art history and, the works of Giorgio De Chirico, Andy Warhol, David Hockney, Kare Walker, Tim Noble and Sue Webster for the purpose of clarifying the links between them.
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Tea and the culture related to tea were formed later in the history of the Turks than in various countries of the world. However, the traces of tea culture have been permanent. Because, together with the tea culture created by the Turks today, it has become an irreplaceable value in social life. Thus, tea quickly adapted to Turkish culture. As a result of this fusion, many intellectual innovations were presented in the process from the production of tea to the consumption of tea by the Turks. It is claimed that Turks have a serious contribution to the development of tea drinking culture. Accordingly, the thinness of the cups in which tea is drunk, the method of brewing tea and so on. Other cultures were enriched by the Turks. Such an interest in tea culture has led to the enrichment of ceramic teapots in terms of form. The teapot fulfills the function of drinking tea in a way; on the other hand, it is artistic and is a form produced for art, without the purpose of functionality.
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Turks have played an active role over a vast geography throughout history. Throughout the centuries, they have acquired a tremendous cultural richness by exchanging culture with many nations. Animal symbolism has an important place in this richness. From the Proto-Turkic societies to the present day, the deer has been one of the most frequently used mythological elements by the Turks and the surrounding tribes. As in the Ying-Yang contrast in Chinese culture, the concept of Earth and Sky is an important part of mythology among Turks. The deer, serving both the earth and the sky god, is a crucial figure for both sides. It was also considered divine and sacred. The deer symbol was often associated with the dynasty and especially with the rulers since it was known as a mythological element that often guided and helped well-qualified, compassionate, and good people. Although some of its features have changed after the transition to Islam, it has never lost its place and importance in Turkish culture. It is possible to see the deer figure frequently in almost every period of Turkish art. The deer has been one of the most frequently used symbols in the geography of Anatolia where Turks have settled, as it was in Central Asia.
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Painting art, with its structural elements such as line, color, taint and texture, has been a common art language for humanity as a means of expession. Color has become a part of literature as an important aide and element of painting art. All the works whether colorful or colorless, reflect the basic qualifications of physical transportation that nature showed the humanity. While some artists use color as the main element of their compositions, some other artists use color as a helper element and express themselves. Color theories have not only become a basis for painting art but they also have contributed to different art and design areas. Color theories which have been revealed by Pythagoras and many artists and scientists are used in our art education and in teaching color. This article, with the basic structure of color, reveals its usage in different disciplines and its quality in terms of painting art.
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Since prehistoric times, myths are the stories that people put forward in order to make sense of the events and facts about the world they live in and to connect these facts to certain causes. Thanks to the myths, various objects and phenomena in cave paintings have been produced and transferred to contemporary art by producing elements that contain artistic quality through written, visual, and auditory media. While this study examines the works of Kadir Şişginoğlu, it includes the examinations on how he was influenced by mythological elements and how he used these elements in the context of form and content in his works. In addition, based on the relationship between art and mythology, it includes the analysis and interpretation of twelve works of Şişginoğlu produced in different periods. The literature review method, which is in the qualitative research model category, was chosen as the method in this study.
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The mother-child relationship is the first existential step. Artist Adnan Turani, one of the important names of Contemporary Turkish Painting, who illustrates this relationship, has examined the feeling of trust in the source of creation in his works. Throughout the artist's life and production process, economic crises, income inequality, political tensions, war and armament, changes caused by global warming may have caused the artist to choose a theme that reminds the sense of security as a source of concern. The artist's mother-child themed paintings have been the subject of research, as Turani expresses an exciting and internal reckoning theme with new artistic discoveries by working on this subject. In order to make sense of the work of art, it must be researched, explained, discussed and evaluated. For this reason, five works of Turani with the theme of mother and child have been evaluated with their front and back structures. While the paintings are analyzed with the material surface visible in the front structure, they are analyzed in terms of meaning, meaning and content in the back structure. Plastic paint texture research and abstraction are the most striking elements in the preliminary structure of the paintings. In addition, mother and child figures were painted in the same plastic texture, drawing attention to the strong bond between the two figures. The artist's mother-child series is represented in a way that evokes feelings of love and affection in the audience. By blending the world of matter with his own imagination, the artist always moved away from the real image and offered a different perception opportunity to the audience. The social responsibility that Turani assumed in the field of art shed light on the period he lived. For this reason, it is aimed to introduce the findings obtained in the research to the Turkish Painting and Art History.
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Kyrgyzstan has a contemporary and dynamic structure with the help of its legends, mythology, colourful folklore and culture dating back to ancient times. By the unique combination of these elements fine arts are inspire itself. Throughout the country and in almost all of the society cultural and artistic activities are watched with their interest, and art is present itself at every moment of daily life. At the beginning of the century, in the field of plastic arts while painting and graphic arts were accepted more widely than sculpture, also since the 1960s, a serious development process of sculpture was initiated in this area as well so practices in the field of sculpture became widespread. The indicator of the development in the field of sculpture are public spaces that give the impression of as an open air museum. The capital city of Kyrgyzstan Bishkek has hosted countless sculptors and Bishkek has been as the centre of important artistic developments of the country. Bishkek keeps the memories of the near and distant history with the help of countless sculptures and monuments which are suitable for the spirit of the era and imitate the figure. These sculptures and monuments are carried out by the sculptors who were educated in cities that the important art and education centre of the Soviet era such as Moscow and Leningrad. One of the important artists who is eighty-four years old and experienced the development and change of the Kyrgyz sculpture art is Viktor Arnoldovich Shestopal. Shestopal inspired by the real data of the history and culture of Kyrgyz. And by his numerous monuments and smallscale sculptures Shestopal enriched the heritage of the fine arts in Kyrgyzstan. Also he contributed to the development of plastic arts with the young people that he teaches educated in the state institutions. In this article, the biography of Viktor Arnoldovic Shestopal, who is a living representative of Kyrgyz sculpture was examined. And his works were evaluated in terms of aesthetics and plastic, and a situation assessment was made in terms of Kyrgyz sculpture art.
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The origin of the artwork can be based on many places. It is seen that dreams also constitute an important resource for artists by inspiring many works. In this article, dream-themed works of artists from different periods and styles are analyzed. In the study, Giotto di Bondone, Nicolas Dipre, Georges de La Tour, Henry Fuseli, Francisco de Goya, Jean Jules Antoine Lecomte du Nouy, William Blake, Utagawa Toyokuni, Pierre-Cécile Puvis de Chavannes, Odilon Redon, Henri Rousseau, Salvador Dali , Henry Matisse and Frida Kahlo's dream concept works were evaluated. While evaluating the works, the sources of the dream-themed works were searched. It has been determined that the works originate from religious, psychological, literary and cultural influences. Artists have revealed the phenomenon of dream by blending it with the plastic of the painting within their own period features and original sensitivities. The concept of dream and its effect in terms of creating plastic language were examined within the data obtained by literature review and qualitative research methods. The findings obtained are important as they will contribute to the art world and shed light on the period.
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This text focuses on the memory of media art. The case study of Reincarnation of Media Art WRO exhibition from 2019 – “a unique exhibition about preserving media art and making its essence available” – is introduced by the author to discuss the life-cycle of time-based media artworks. Aforementioned case study is used as the basis for further discussion about “permanence through change” approach in preserving media art.
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Nowadays, the optimization of energy consumption and resources is one of the most urgent topics in worldwide industry. The energy consumption monitoring and control in various multiphase flow industrial applications, where a proper flow characteristic and an optimal phase mixture control is crucial, is hard to perform due to the physical and chemical complexity of the processes. The Electrical Capacitance Tomography (ECT) is one of the relatively cheap non-invasive measurement methods that can help in the monitoring and control of optimal energy and resources dozing in industrial processes. ECT diagnostics systems use unique sensors that can non-intrusively detect spatial capacitance changes caused by spatial changes in the electrical permittivity of industrial process components. One of the latest ECT extensions is a three-dimensional measurement strategy that uses a multilayer structure of the capacitance sensor. In this paper, the authors propose a novel approach to the 3D ECT sensors fabrication process that uses 3D computer modelling and 3D printing to easily get any sensor shape, electrode layout, scale and shielding strategy. This study compares the measurement abilities of a 3D ECT sensor fabricated using a traditional hand-made technique with the 3D printed device. The results have proven the potential of the new 3D print-based sensor regarding its significant fabrication time reduction as well as the improvement of the overall 3D ECT sensor measurement accuracy and stability.
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Tekst jest przeglądem książki Podaj dalej. Dizajn, nauczanie, życie, a także refleksją zarówno nad projektowaniem, jak i nad wartością takiej literatury z perspektywy naukowej. Książka formalnie jest wywiadem-rzeką, można ją też zaliczyć do publikacji z zakresu dydaktyki i teorii dizajnu, interesującego w świetle kognitywistyki, jak i badań społecznych.
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In Hinduism, the śāstras list many iconographical forms of Devī. Nevertheless, for a number of them, there is no existing material rendition. The present article examines the cases of a few such iconographical forms, those of Ṣaḍaṅgadevī, Catuṣṣaṣṭikalādevī, Śītalādevī, Daśamudrā and Trikaṇṭhakīdevī. Śilpaśāstras enumerate the pratimālakṣaṇas of these goddesses elaborately. It is an enigma why material evidence that is expected to portray the canonized form is missing. However, recently a few models have become available that get closer to the Śāstraic notions. These redesigned entries add a new dimension to the iconography of the goddess. The present article deals with some rarities in the realm of Śakti iconography based on the Śrītattvanidhi in its Tañcāvūr Sarasvatī Mahal Library edition.
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The subject of this article is the landscape of the mind. At the turn of the eighteenth and nineteenth centuries, in landscape painting and in nature poetry, the surrounding nature became an insignificant element of the artist’s or poet’s work, acting only as a trigger for introspection. In landscape painting, nature was supposed to express emotional states. The viewer was to embark on a mood suggested by the painting and immerse himself/herself in contemplation of his or her internal states. In nature poetry, such as William Wordsworth’s Prelude, the vision of nature was subjective: its colouring was an effect of projection of the emotions of the speaker in the poem, it was a reflection of the landscape of his mind. The theoretical context to be used in this essay for the discussion of the landscape of the mind in landscape painting and nature poetry is the aesthetic theory of Archibald Alison.
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