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Yurt Gezileri ve Trakya

Author(s): Melihat Tüzün,Kübra Yıldız Altın / Language(s): Turkish Issue: Spec. Iss./2023

In the Republican period, Country Trips were organized by the State in order to see the beauties of our country on site and for the painters to paint these places. While the Country Trips made the society love the artist and his art, it also enabled the artist to see and get to know his hometown, the living conditions and culture of the people. In these trips, artists were provided with a more sensitive approach to social events. In this study, in which the qualitative research method was used, the studies of Bedri Rahmi Eyüboğlu, Saip Tuna, Nurullah Berk and Arif Kaptan, who came to the Thrace Region, were researched, examined and analyzed. As a result, with these trips, an enrichment and diversity was seen in Turkish painting. As a result, an innovative step was taken in the field of art and the art productions of the artists were supported with the country tours.

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Türk Sanatında Kadın Bedeninin İkonografik Açıdan Değerlendirilmesi

Author(s): Ayşegül Zencirkiran,Yunus Berkli / Language(s): Turkish Issue: Spec. Iss./2023

The mother goddess cult, which developed in parallel with the matriarchal family order of the prehistoric period, was formed with the idea of accepting the mysterious/divine biological characteristics of a woman that cannot be made sense of. As a result of this perception, the organs of a woman associated with childbirth, attributed to holiness are emphasized on works of art, and we come across bodies with large breasts and hips, sagging belly, called steatopic, such as in Cybele or Venus. This perception, which persists in historical periods as well as Göbekli tepe and prehistoric periods has also been reflected in Turkish Culture and Art, and these female figures have been used both before Islam and during a wide period of time covering the Islamic period, despite the understanding of privacy of this religion. Contrary to this idea, it is understood that, except for people and events of sacred origin, women belonging to the upper-class dress more conservatively than their servants or concubines, and even covering their entire bodies, including the face, is reserved only for ladies. Within the scope of our topic, rock and wall paintings, sculptures belonging to Turkish Art, these women's bodies reflected on coins will be evaluated.

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ÇAĞDAŞ SANAT, BİENAL, KÜRATÖR İLİŞKİSİ

Author(s): Derya Özdemir / Language(s): Turkish Issue: 104/2023

Biennials, one of the most important elements that can be considered as the representation of contemporary art, were first introduced in 1895 with the Venice Biennale thanks to the impact of globalization on art. In the 1990s, there was a significant increase in the number of biennials in many countries, based on the example of the Venice Biennale. Although the biennials, in which the idea of “art for the sake of art” is at the forefront, are held free of charge, in the background, their current relations with the contemporary art market, albeit indirectly, are evident. While the biennials continue their artistic activity with their conceptual dimension, they have taken their place with more than 300 art events that promote the cultural values of not only the country but also the city they belong to, highlighting the cities and contributing to cultural tourism as well. In the art market, which started with auctions, the influence of galleries increased with modernism, but today, we can say that the power of auctions has started to increase again in the contemporary art environment. When biennials and fairs are compared, it can be said that fairs have recently begun to have a greater say, which can be related to the art market. Today, with the establishment of private museums, museums are on the way to renew themselves by entering a different structure and appear as areas that go beyond being closed spaces to display the works.

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AKTİVİST BİR EYLEM OLARAK DORİS SALCEDO’NUN PALİMPSESTO YAPITI VE GÖÇ KAVRAMI

Author(s): Halil Daşkesen / Language(s): Turkish Issue: 104/2023

Fundamentally, migration is an expression of movement on the levels of culture, society, and geography. The idea of migration has been studied as a research topic in a wide variety of fields of study from the distant past to the present day, and its causes, circumstances, and outcomes have also been the subject of discussion. Because migration is both a concept and an action that encompasses both voluntary and obligatory geographical movements. In the literature, there are several definitions regarding how to classify migrants. However, in the realm of the arts, it was noted how those who travelled in search of a better or more required living were exposed to racism, violence, and policies that resulted in death. There have been conceptual works generated on migration in the realm of art, and there have been artists who have displayed critical attitudes via the works that they have produced. Doris Salcedo’s “Palimpsesto” in which she writes the names of these immigrants with water, can be seen as an activist action highlighting the fact that the names of those who set out to migrate in search of a better life but died in the attempt are forgotten over time. To explain Salcedo’s application with the names of people who died on the floor of the Palacio de Cristal, associating it with the concept of “Palimpsest”, through the concept of migration, and to determine the role of visual elements used as reminders in the meaning-form relationship are the objectives of this study. Furthermore this study aims at making an analysis of the relationship situation using the descriptive analysis approach, utilizing illustrative examples of the artist’s work titled “Palimpsesto”. It is for this reason that an attempt is being made to create a relationship between the transformation of this critical approach to the notion and policies of migration into an artistic expression and the consequences that it has on the audience.

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RESSAMLARIN ANNE PORTRE/RESİMLERİ

Author(s): Hüseyin Sönmez / Language(s): Turkish Issue: 104/2023

This article; presents a review of the paintings of the artists' own mothers. In this context, mother paintings of Dürer, Lucian Freud, Whisler, Arshil Gorki, Semiha Berksoy and Hüseyin Sönmez are included. Mother pictures of Dürer, Lucian Freud, Whisler, Arshil Gorki, Semiha Berksoy and Hüseyin Sönmez are included. The only source of our lives, our fertile and productive mothers, the symbol of fertility of many civilizations, the Virgin Mary of the Christian world. Family is a concept that is glorified in many societies. Religious messages stand out in works that refer to holy books, while social messages stand out in the paintings of Mary Cassat, Kathe Kollwitz and Neşat Günal.The mother paintings of the artists, which are the subject of the article, stand in a more special and subjective place in the history of art, unlike the family pictures. In the mother paintings of Dürer, Lucian Freud and Whisler, we see the sad gaze of the artists on the aging mother, and in the mother paintings of Arshil Gorki, Semiha Berksoy and Hüseyin Sönmez, we see the visual traces of the lamentations for the deceased, lost mother. In these works, in which the artists monumentalize their mothers, it is possible to see an intense emotion due to the nature of the subject. However, they do not differ significantly from the other works of the artists in the technique, method and composition and composition of the painting.

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BİLİMSEL İLLÜSTRASYON VE MİNYATÜR İLİŞKİSİ: ASTRONOMİ

Author(s): Necla Özbalci,Özlem Tekdemir Dökeroğlu / Language(s): Turkish Issue: 104/2023

Miniature is the traditional art of depiction drawn with the help of special techniques on manuscripts to illuminate the text and make it more understandable. Illustration is the name given to pictures that undertake the function of explaining a picture by narrating it. In this context, both disciplines perform the storytelling function by describing facts and events.In the research, it is aimed to visually examine the miniatures and illustrations that have expressive and functional qualities in astronomy. The scope of the research is to examine the common aspects of the miniatures, designed on the inventions of Ali Kuşçu and Takiyuddin, who have an important place in the science of astronomy, with the concept of illustration, which is a visual expression way closer to our age, through the science of astronomy. The miniatures made on the studies of the scientists mentioned in the study on astronomy were examined visually and the common aspects of this traditional depiction method with illustration were emphasized.

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TÜRK VE İSLAM ESERLERİ MÜZESİ’NDE SERGİLENEN ANADOLU SELÇUKLU HALI KOMPOZİSYONLARINDA GÖRSEL DENGE

Author(s): Ayşe Gamze Öngen / Language(s): Turkish Issue: 104/2023

The traditional carpet art of the Turks emerged in line with the climatic conditions of the regions they live in and has progressed until today. The traditions and cultural accumulations of the people who deal with the art of carpets have been reflected in the works they have produced over time and have given them an identity. Turkish carpets, which are exhibited in many museums today, always create a strong effect on the visual perception of the viewer. This impressive appearance of Turkish carpets has been realized by using the design principles correctly in the carpet composition. The integrity in the shape-ground relationship seen in the surface design of these carpets with high artistic value is provided by the principle of balance. It is seen that the Anatolian Seljuk carpet surfaces of the 13th and 14th centuries in the Turkish and Islamic Arts Museum are divided into 4 parts as the main border, inner-outer border and floor. The principle of balance was used in the composition arrangements of these sections on the carpets. In this context, in the research planned to be carried out on Seljuk carpets; It is aimed to examine the effect of the balance principle seen in the designs of carpets. In addition, it is aimed to investigate the strong effect that Seljuk carpets still have on the audience in terms of design principles and to examine them together with visual data.

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TEMEL TASARIM İLKELERİ KAPSAMINDA SEÇİLMİŞ TEKSTİL MALZEMELERİ İLE DOKUMA KUMAŞ YÜZEY TASARIMLARI

Author(s): Nilay Ertürk,Ayşenur Sakönder / Language(s): Turkish Issue: 105/2023

Basic art principles are study which is lectured in educatıonal instituatıons havıng art and desıgn background. Planning is needed in tems of technic and style while product of a design is formed. As a first step, these plannings having standard composition framework has to be transformed into productşon stage. At this step, elements and principles of basic design are the most efficient way to set the compostion of the design products. In this study, weaving which is fabric preperation technic and basic design principles are gathered. For centries, weaving technic was mainly used for covering oneselves. Conception of modern-day weaving expanded its functional and aesthetic borders. Thus, design of fabric design has changed in terms of usage purpose and surface outlook. In this study, sematic and fuctional common directions of art and textile are aimed to be integrated in a creation.

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ÇİZGİ ROMANDA ANLATIM ARACI OLARAK ÇİZİM ÜSLUBU: OLAĞANÜSTÜ BEYEFENDİLER CEMİYETİ ÖRNEĞİ

Author(s): Birsen Çeken,Özgür Hünel / Language(s): Turkish Issue: 105/2023

While the origin of the art of comics, which is a combination of text and drawing, is based on cave paintings, the history of the comic book, which is a printed work in the modern sense, is parallel to the history of the printing press. Comics have earned a respectable place as an art form today. The style of drawing in comics, as a branch where scenario and visual are fused, is an issue that should be considered in its selection and use. It is observed that a correctly chosen illustrator, and therefore the style, increases the quality of the comic, catches the harmony with the script, and goes beyond the harmony and becomes a story element on its own. With the "British Invasion" school that emerged in American comics since the 1980s, literary works that have depth and artistic quality in terms of both text and drawing emerge. The League of Extraordinary Gentlemen comic, produced by Alan Moore, one of the prominent writers of this period, together with the cartoonist Kevin O'Neill, is an important example in that the relationship between narrative and drawing style is at an unprecedented level. The harmony of the text and O'Neill's drawing style, which has a wide emotional scale, was examined with sample page and panel analyzes and the findings were interpreted in the light of the information obtained from the literature review, and the subject of how and in what way the drawing style in the comics became a means of expression has been finalized.

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FRANK STELLA’S NFT COLLECTION: GEOMETRIES

Author(s): Merve Güven Özkerim / Language(s): English Issue: 106/2023

NFT (Non-Fungible Tokens) artworks are artistic works that are cryptographically recorded in the blockchain, with limited copy numbers. In the field of art, which has always been closely intertwined with socio-cultural, economic, and technological developments, block-chain technology is now being widely used through NFT artworks. This study aims to examine the NFT collection titled "Geometries" by American artist Frank Stella. The collection consists of 22 pieces and is available on Open Sea, one of the most popular NFT art markets. The evaluation of Frank Stella's NFT collection "Geometries" will focus on its form and content, as well as its relationship with the traditional art world. Frank Stella's art career offers one of the most original examples to evaluate the relationship that Modern and Postmodern art will establish with NFT technology. With this aspect, the artist has transferred the ongoing perspective from minimalism to his contemporary works. Although subjectivity is avoided in the collection, there is a unity of ideas and styles. Utopian-dystopian universes, urban phenomenon, biomorphic forms, space-space relationship come to the fore. In the “Geometries” series, form and form precede the subject in the studies. Studies on NFT artworks in the literature generally focus on the art market area. There is a lack of research that examines the content of NFT artworks or focuses on their relationship with art history. For this reason, it is thought that the study will contribute to the literature.

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AMY FİLMİNDE GÖLGE İLE DİJİTAL VE ULUSÖTESİ DIŞAVURUMCULUK

Author(s): Rahime Özgün Kehya / Language(s): Turkish Issue: 106/2023

The shadows symbolising animals in the animated film Amy (KarlijnScholten Animation, 2011) represent evil emotions and actions of adults, such as violence, child abuse and rape. This study examines Amy as an example of the symbolic and digital expression of shadows to reflect the inner world of individuals. The film is analysed through mise-en-scène analysis, focusing on light and shadow. Based on the example of the film Amy, it is revealed that the use of light and shadow as aesthetic elements in today's world, where digital computer technology has developed, is more than the natural and artificial lighting possibilities in the history of art; thanks to the use of digital light that allows the creation of dark and shadowy areas, it has become easier to represent the characters with expressionist projection. In addition, the distribution of the film on an online video platform such as YouTube, the most widely used online video platform in the world, brings social-cultural issues, such as child abuse and violence, which are both local and global, to a transnational level with its aesthetic similarity to the German Expressionism of the early twentieth century.

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MELİHA YILMAZ’IN ESERLERİNDEKİ TÜRK MİTOLOJİSİ UNSURLARI ÜZERİNE BİR İNCELEME

Author(s): Gonca Yayan,Nurullah Hekimoğlu / Language(s): Turkish Issue: 105/2023

Mythological narratives, which are a manifestation of the lifestyles, perceptions, and thoughts of every nation, and thus constitute an important source in the formation of cultural codes, have been a source of inspiration for many artists in contemporary art. One of these artists is Meliha Yılmaz, who produces her works by making use of rock paintings in the geography of the Turkish world, which contain narratives of Turkish mythology. The aim of this research is to reveal how the artist Meliha Yılmaz interprets the effects of Turkish Mythology and mythological elements in her works with a contemporary understanding. Qualitative research method was used in the research, and literature review and work analysis methods were used in data collection. The research is limited to 7 works of the artist. As a result of the research, it was concluded that the artist Meliha Yılmaz interpreted the rock paintings of the Turkish world geography reflecting the humanhuman, human-nature and human-universe relations and the mythological narratives in these paintings with a contemporary understanding, strengthened the expression of the content with a three-layered structure-based plastic expression that supports each other, and in her works. It has been concluded that it includes rich mythological narratives. In particular, the shamanic rituals based on the belief in the sky god and shaman of the Turks, the hallucinatory trance states of the shaman, the elements such as the shaman, the shaman drum in these rituals and the animals such as deer, bull, horse and bird that have an important place in Turkish mythology, the tree of life in the Turkish belief system, the ab-ı life. It has been concluded that he includes allegorical elements such as the container, sun and moon symbols, idols and allegorical formations of spirits, and that the artist interprets these images with his contemporary original style and makes references to the concept of synchronicity in mythology in the plastic fiction of almost all of his works. In addition, it was seen that Yılmaz used colors such as white, sky and red, which have an important place in the color symbolism in Turkish mythology, to support the mythological narratives in his works.

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TASARIM VE BİLİM ARA KESİTİNDE MEKÂNIN GELECEĞİNİ OKUMAK: MICHIO KAKU

Author(s): Gizem Kuçak Toprak / Language(s): Turkish Issue: 106/2023

The main aim of the research, titled "Reading the Future of Space at the Intersection of Design and Science: Michio Kaku," is to conduct research and raise awareness about what to expect in terms of future spaces and designs. Discussions about the future of space date back to the 19th century, and advances in science and technology are now influencing space and design in terms of construction, information technologies, functional and physical properties, and the way space is perceived. This study discusses the future of space through the lens of Michio Kaku, focusing on current scientific and technological developments. Michio Kaku, a prominent scientist and theoretical physicist known for his recent contributions to various discoveries, discusses the possibilities of the future of space and design in his works such as "The Physics of the Future," "Parallel Worlds," and "The Future of Humanity" (Kaku, 2011, 2019b, 2019a). An examination of relevant sources highlights concepts such as virtual space and technology-integrated spaces, which suggest that new types of spaces will come to humanity in the future. There is a high probability that existing spaces will disappear, change their form, and alter their functions. However, there is no suggestion that artificial intelligence or technology will replace humans in realizing the future designs. It is emphasized that creativity and imagination are directly linked to humans. In designing the future spaces integrated with science and technology, human beings will once again play a key role. Therefore, it is recommended that priority be given to the education and training of designers and architects who have the skills to design future spaces and that appropriate measures be taken.

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AN ANALYSIS OF DANA SCHUTZ’S SELF-EATERS SERIES IN THE CONTEXT OF CARNIVALESQUE THEORY

Author(s): Deniz Reisoğlu / Language(s): English Issue: 105/2023

The focus of this study is to analyze Dana Schutz's Self-Eaters painting series in the context of Mikhail Bakhtin's carnivalesque theory in his book Rabelais and His World. The first chapter provides a brief introduction to carnivals and the carnivalesque theory, to establish a foundational understanding of the framework. According to Bakhtin, carnivalesque manifests in art as renewal, rebirth, and bodily waste, emphasizing the body and bodily functions while subverting established social hierarchies and norms. In the second chapter, selected paintings from Schutz's Self-Eaters series are analyzed in the context of carnivalesque theory. The Self-Eaters depict figures engaging in auto-cannibalistic acts with a vivid color palette, contrasting the horrifying content of the paintings, offering commentary on the relationship between body and self and the boundaries between life and death. This study concludes that Schutz's Self-Eaters series can be analyzed through the lens of carnivalesque theory, which emphasizes renewal, rebirth and corporeal with this contrast.

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KŪKAI’NİN MANDALA KONSEPTİ İLE MARK ROTHKO ŞAPELİ’NİN ANALOJİSİ

Author(s): Şevket Cem Onat / Language(s): Turkish Issue: 106/2023

The effects of mysticism in art have been researched throughout art history. In this context, the power of belief systems over art is revealed in an undeniable way. Either in 6th century or 20th century, the effects of religious teachings continue to have their reflections on art works. Kūkai and Mark Rothko will be studied within this perspective. Kūkai, known as Kōbō Daishi, lived in the last quarter of the 6th century and the first half of the 7th century. Kōbō means "widely spreading the teaching of Buddhism", daishi means "perfect teacher". Kūkai is the founder of the Shingon School and the monastery located on Mount Kōya, as well as the father of Ezoterik Buddhism. Kūkai's philosophy is based on merging dualist viewpoints such as rationality and metaphysics, abstract and concrete, simplicity and diversity. Kūkai's mandala approach can be grouped under four main headings: Mahā (Body), Samaya (Speech), Dharma (Mind), and Karma (Action). According to Kūkai, none of these four titles are independent from each other. When mandalas are defined as visual images used to concentrate on the center of the mind, the lack of even one of these four elements can be interpreted as the meditative effort provided by the mandala will be in vain. The purpose of use of mandalas is to achieve a spiritual maturity that can be communicated with the images created by the imagination by purifying from phenomena. This maturity is one of the most important experiences used to reach Buddha. In 1964, John and Dominique de Menil, collector and museum director commissioned Mark Rothko and architect Philip Johnson. Mark Rothko is one of the most important artists of the 20th century. Rothko and Johnson were built a chapel dedicated to spiritual ecumenicalism and human rights for St Thomas University in Houston, Texas, USA. However, the mentioned chapel was made independent on February 27, 1971, one year after Rothko's death, and became known as the Rothko Chapel. The octagonal architecture of Rothko Chapel creates a symmetrical plan reminiscent of a mandala. When standing in the center of the Chapel, which is a meditative space filled with Rothko's paintings, the audience can watch all the art works from an equal distance. The aim of this study is to evaluate both the visual and mystical structure of the Rothko Chapel with Kūkai's view of mandala and art approach within the context of art, philosophy, theology, architecture, etc. It is aimed to contribute to the enrichment of interdisciplinary approaches in the fields.

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ANTİK MISIR VE MEZOPOTAMYA SANATINA KARŞILAŞTIRMALI BİR BAKIŞ

Author(s): Dilan Ay / Language(s): Turkish Issue: 106/2023

Egyptian and Mesopotamian Civilisations are very important in terms of both the history of civilisation and the history of art. In this study, the arts of Egyptian and Mesopotamian Civilisations will be examined comparatively and similarities and differences will be presented. This comparison will be made within the context of architecture, painting, sculpture and small handicrafts. The purpose of the research is to determine whether there are similarities and differences between Egyptian and Mesopotamian art, and if so, how and in which context they appear. Besides, another purpose of the research is to show how environmental, religious and sociological factors are reflected on the artistic understanding of the two civilisations. The research is based on a review of the relevant literature in the field. It was determined that geography and religion were very effective in the formation of the art of these two civilisations that lived in the same era. As a result of the research, it was determined that the guidance of religion was very effective in every field of art in Egyptians. All produced artworks were made in order to ensure the transition of the dead to the other world and to pass to eternal life. Although there were religious productions in Mesopotamia, it was determined that Mesopotamian art was more related to the living world.

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CUMHURİYETTEN GÜNÜMÜZE TÜRK RESMİNDE EŞZAMANLI DEVİNİM

Author(s): Mehmet Cihan Gezen,Ahmet Dalkıran / Language(s): Turkish Issue: 106/2023

From the Einstein’s theory of relativity in 1905, physicists accept that there are four dimensions in the world. Three dimensions (width, length, depth) in the material world keep the relationship between every creature in the nature along with the “time” which is accepted as a fourth dimension. Simultaneity, however, means the encounter of the two or more cases in the time which may contain the same or similar concepts except causality. In painting art, especially simultaneous spaces which is created by fracturing the shapes in the Cubism movement used by Futuristic painters to show action (motion) later. With the influence of the accumulations experienced in Europe, the simultaneous motion concept in Turkish painting occurred with a tendency of corrupting analytically and exhibiting simultaneities on the same surface by Group D artists after Republican era because of the concurrence for modernization goals of Republic. Within the research scope, Turkish artists, who use the simultaneous motions as an expression in their works and compose works in between 1923-2015, are analyzed and Ergin İnan, Ferruh Başağa, Mehmet Özer, Yüksel Arslan, Mustafa Albayrak, Lale Altınkurt and Ayhan Taşkıran’s work samples, that simultaneous motion is noticed consistently in, are handled within the thesis limitedness. Because of the lack of the surveys about that field, it is aimed to contribute literature for concerned researchers. Qualitative research method and techniques are used in that study which is based on overall scanning model. “Document review and interview“ methods are exercised to collect qualitative data. “Artist interview form“, tape recorder and camera are used as a data collect devices.

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SİVAS ARKEOLOJİ MÜZESİNDE BULUNAN HALI YASTIKLAR

Author(s): Şirin Karaman / Language(s): Turkish Issue: 106/2023

Sivas has produced many works in the field of handicrafts. Weaving, one of these arts, has a special place in Anatolian geography. Many different woven products have been made to meet people's needs. The carpet is made as a mat to spread on the floor, a couch/makat to sit on, a cushion, and a pillow to lean on. In addition, it is possible to see it in different forms such as a prayer rug for prayer, a saddlebag for carrying materials, a wall ornament to beautify the house, and a door ornament. In previous periods, when the use of furniture was not so common in home furnishings, fixed seating elements were used. A cedar carpet was woven to lay on top of them, and a pillow was woven to rest the back. Carpet cushions, which have a color and composition that complements the couch/makat carpet, form a separate group. Pillows, which used to be in every home, have completely disappeared today as their use has ended. In this study, carpet pillows, a small sample of the region in the museum, were examined. There are examples of local carpet pillows of Sivas. In addition, the donated carpet pads were found worthy of study because they contained samples from different regions of Anatolia. Inventory information of carpet pillows was used. In addition, the patterns of the photographed pillows were drawn. Color and composition properties were determined. A literature review of carpet weaving was conducted. Interviews were held about the local pronunciations of the motifs and determinations were made. This study aims to contribute to the field and to record it. By drawing the motifs of the samples subject to our study, it is aimed to transfer these motifs to future generations and to make them ready for use when necessary.

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ÖZEL SANAT MÜZELERİNİN TÜRK RESMİNİN DEĞİŞME VE YENİLEŞME SÜRECİNE KATKILARI

Author(s): Devrim Yildirim,Hüseyin Elmas,Hande Bolu Sert / Language(s): Turkish Issue: 108/2023

Museums can be cited as institutions that best reflect the culture, lifestyles, and values of societies, capable of transmitting these values to future generations, and also providing educational opportunities. These values have gained significant importance through museums over the past century, and societies have attached importance to the concepts of museums and museology in order to reflect their own cultures and lifestyles. In this context, it is believed that private art museums reflect these values. The history of museology, the development and transformation process of museum culture in Turkey, the functions of private art museums, and the contributions of private art museums to Turkish painting art constitute the problem statement of this study. For this purpose, the Mustafa Ayaz Foundation and Plastic Arts Museum, IMOGA Istanbul Graphic Arts Museum, and Baksi Cultural Art Foundation Museum have been selected as the subjects of the research. The reason for limiting the study to these three museums is that they have been established by master artists who have emerged within the realm of art. The conducted study is based on qualitative research, and data has been obtained through literature review and interview method. Semi-structured interview forms were used during the interviews with artists. It has been found that the museums under investigation have a positive impact on the cultural and artistic life as well as nourishing art education and society in various ways. Considering all these perspectives, it is believed that museums, as institutions that can change and renew a society, support the transformation of Turkish painting art.

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SERÜVENİ KAPSAMINDA IŞIK VE GÖLGEYE DAİR GÜNÜMÜZ SANATINDA ÖZNELLEŞMİŞ NESNELER VE ÖTESİ

Author(s): Can Küçüktepepınar / Language(s): Turkish Issue: 108/2023

The diffusion, reflection and refraction of light have been examined in a scientific-artistic theoretical and practical manner within the human adventure with its historical dimension.The inner and intellectual realities of the subject human/artist's vital experiences through sensible perceptions, and as a result, the pioneering artistic works created about light and shadow, from the twentieth century to today's world, have been subjectively evaluated within the scope of the phenomenon of interior and exterior space. At the same time, it has been tried to clarify the formation of an artistic work on light and shadow in the characteristics of individual consciousness by examining its spiritual, sensory-emotional, social, cultural and sociological aspects, and metaphorical analyzes and evaluations have also been made regarding the phenomenon of light and shadow in the realities of the inner world of the subject human being, which can also be considered as a spatial structure. So, it can be said that within the scope of objective reality and phenomena, it is clear that there cannot be shadow without sunlight/light, moreover, there cannot be colors related to the subject human life, and there cannot be scientific and artistic research and developments. In this article, within the scope of different perspectives, it has been tried to clarify the importance of sunlight, which can also be said to be the source of life, what other light sources and shadow are and their formation.

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