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POİNTİLİST BAKIŞ AÇISININ TEMELLERİ VE GÜNÜMÜZ SANATINA YANSIMALARI

Author(s): Ezgi Tokdil / Language(s): Turkish Issue: 79/2021

In the research, first of all, the foundations of the understanding of pointillism as a formative understanding in the early 20th century, the reasons of the orientation, the reflections of the concept of shaping on the art of the period, the studies on color and light in the process starting with the Impressionists, the bridge between art and science through color and light (color knowledge), It is studied with examples from science (visual forms of the eye and time-space relation), psychology (gestalt theory) and philosophy (phenomenological approach). Then, by establishing a relationship between the working principle of computers and the shaping method of art, the mutual relationship between the formation of color through the combination of dots and the emergence of image and action through the combination of codes is analyzed. The bridge between art and science is evaluated within the scope of modern and postmodern art, and the working principle and aesthetic discourse of new media arts are interpreted from the Pointilist perspective. In this context, the sample of the research consists of the examples in which the Pointilist approach is used directly (using the dots to create the color) and the indirect use of the Pointilist approach (the combination of parts to form the form). As a result of, there is a continuous relationship between art, science and philosophy, the boundaries of this relationship have increased in some historical periods while examining in others, the pointillist understanding, which is a form of expression of the modernist approach, changes meaning, purpose and form and is at the basis of new media arts in today's technology age, but again It is seen that objective reality is positioned on the same basis in the subjective transformation (reflection on the work). However, when the pointillist approaches in today's art are examined, it is seen that in parallel with the development of technological possibilities, wider subjectivities have emerged, and new art fields are created in the agenda of software technical limits, as well as the creation of both color and form.

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RESİM SANATINDA SU VE BULUT TEMASINA SÜRREALİST YAKLAŞIMLAR

Author(s): Hüseyin Elmas,Kemal Macar / Language(s): Turkish Issue: 80/2021

When the connection between art society is examined in many ways, it is seen that the works produced reflect the characteristics of that period. While the destructions brought about by the first and second world wars changed many social events after the war, it also changed the existing position of art. Surrealism, which stands out with the task of questioning the human and the subconscious in the history of painting, is the formation and product of a crisis in world history after its interaction with the Dadaist movement.In the research, the expressions of the artists who used the theme of water and cloud in Western and Turkish painting art in line with surrealist understandings were discussed. These works of art, created without being caught in the bondage of the mind, bring the benefits of the iner or outer world as a result of an enviromental interaction; it is the result of a request to explain with an irrationallogic in micro and macro systems.

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TEZHİP SANATINDA YENİLİKÇİ BİR USTA: FARUK TAŞKALE VE ESERLERİ

Author(s): Betül Coşkun Çelik / Language(s): Turkish Issue: 80/2021

Prof. Dr. Faruk Taskale has become an important name among the scientists and artists who work on the illumination art by reason of he has created new and original artworks on the Turkish Culture and Art. Considering his studies in his field, he is a scientist and craftsman who left many remarkable artworks to future generations and created many valuable artworks both academically and artistically. In consideration of Faruk Taskale’s artworks are viewed from a wide perspective, the general situation determined comes into forefront original designs blended contemporary forms with the rules of tradition besides his classical artworks. Prof Dr Taskale draws attention with its hatai flowers, asymmetrical compositions, soft colors and especially the color transition flower applications used for the first time in the illumination art on paper surfaces with color transitions applied for the first time in the illumination art. In this research, a biographical study has been made by using the events that have developed from Faruk Taskale’s birth until today, his life full of illumination art, his meeting with Illuminator Rikkat Kunt, knowledge about his art style, his writings, books and interviews. It is certain that the style and art life of Taşkale, the most innovative craftsman and scientist among the 21st century craftsmen for the illumination art, will shed light on the people who are devoted to the illumination art.

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TÜRK TANGO MÜZİĞİNDE ÇOK YÖNLÜ BİR BESTECİ: EMİN CENKMEN

Author(s): Bahar Sariboğa Akca / Language(s): Turkish Issue: 81/2021

Having gone through its golden age from the beginning to mid-20th century and becoming part of popular culture, Turkish Tango music initially made ground for itself in Turkey through Turkish lyrics written on foreign tunes, but once Turkish composers started adding local themes, Turkish tango music works started to be produced by several composers. The purpose of this study is to define and introduce the life, works and contributions to polyphonic Turkish music by Emin Cenkmen, one of the composers of Turkish tango music. Despite being a versatile, enlightened composer and academician who contributed greatly to the development of the nation’s cultural and art life through his works during the early years of the Republic era, the number of studies on Emin Cenkmen is almost non-existent. This study aims to overturn this deficiency by making a comprehensive research on Emin Cenkmen’ life, 1911-1993, his articles, books, concerts, folk music compilations, his clarinet production as a luthier, his various compositions such as operetta, Adalı Kız and Yosma operettas, Bayrak anthem and several others on Turkish tango music. A great part of the study is allocated for the detailed analysis of his Encyclopaedia of Music which he prepared with meticulous effort in 1947-1948. This study has been based on general screening model, one of the qualitative research methods. The data collection tool of the study consisted of written and verbal resources and these data have been systematically presented in the study.

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YENİ TÜRK HARFLERİNE GEÇİŞ SÜRECİNDE TÜRKİYE’DE GRAFİK TASARIM ve ÇOKLU DİL KULLANIMI

Author(s): Özlem Uyan / Language(s): Turkish Issue: 81/2021

After the proclamation of the Republic, many innovations were implemented, one of these innovations, the Letter Revolution, provided innovation in the cultural field and in many other fields, as well as influencing graphic design. In this study, which was prepared by taking advantage of the Master in Art thesis titled "Reflections of the Letter Revolution Between 1928-1938 on Turkish Graphic Design". It was discussed the useage of multiple languages in graphic works produced in 1928 and before, when the Latin origin New Turkish alphabet was accepted. Information was given about the realization process of the Letter Revolution, the works produced during the Ottoman period and that we can consider as graphic design today. Studies in which different languages (French, Armenian, Greek, etc.) are applied and graphic works in which Ottoman Turkish and Turkish are used together are conveyed. The study method is based on academic study, document and archive examination. During the visual and written data collection phase, newspaper and magazine articles, some news and advertisements, official documents, books, photographs, digital documents, academic discussions, descriptive analysis and comments were used. The aim of the article is to provide a source for the literature for academicians, researchers, designers and students who do research on the field and to provide an inclusive view of the period.

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UN VAS CU SIMBOLURI PICTATE DIN CULTURA GUMELNIȚA

Author(s): Ana Ilie / Language(s): Romanian Issue: 6/2020

The subject of this article is a bowl discovered at the Gumelniţa settlement from Moara din Groapă, during rescue archaeological research carried out in 1976. The bowl displays a white symbol on its outer bottom - a double sign so far unknown among the variety of paint and incised signs found on the Kodjadermen-Gumelnița-Karanovo VI pottery. The Gumelnița culture (part of the Kodjadermen-Gumelnița-Karanovo VI cultural complex) is generally characterized by undecorated or minimally plastic decorated pottery, although it is better known by a series of very expressive anthropomorphic and zoomorphic vessels, or by those decorated with graphite, and the bicolored or extremely seldom, trichrome painted vessels. In this context, this vessel is an outstanding find.

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AKSARAY IHLARA VADİSİNDEKİ YILANLI KİLİSE’DE BULUNAN YILANLI FRESKO VE FRESKO’NUN ESTETİK ANALİZİ

Author(s): Banu DAVUN,Yusuf Albayrak / Language(s): Turkish Issue: 50/2021

From the 4th AD, some Christian clergymen started to come to Göreme, Güzelyurt and Belisırma in Aksaray and Cappadocia regions and made these places a religiously important area. They needed a place where they could realized their religious ceremonies in the Ihlara Valley, share the bread and wine symbolizing the flesh and blood of Christ and be baptized, and they continued their lives in these places by building churches for this purpose. Dictionary meaning of the word church is the place of worship. Church architecture has developed in different forms and plan types. Churches, which are generally built with domes and cross plans, have appeared in different plan types since the early periods when Christianity started to develop. They made frescos mostly containing religious scenes on the walls of churches. Fresco is a wall painting technique using water-soluble paint pigments on wet plaster. It is a painting technique made directly on the rock with red ocher. With this technique, bedrock is used as a background. One of the churches where wall paintings are made is the Serpentine Church located in the Ihlara valley. In the wall paintings in the church. There are ascension to Sky, Child Jesus with Mariam and Bishop Chrysostomos, the Roman Emperor Constantine and his mother Helene, the death of Mary, be buried of the Egyptian Mariam, Daniel is Between the Arslans, The Last Dinner, and the Crucifixion, Jesus who seat cross-legged between Cebrail and Mikhail, the last judgment scenes and four women who have been attacked by snakes.

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KONYA MÜZELERİNDE BULUNAN KADIN CEPKENLERİNDEKİ KORDON TUTTURMA ÖRNEKLERİ

Author(s): Ayşe Lütfiye POÇANOĞLU / Language(s): Turkish Issue: 31/2020

Women cepken (long-sleeved vest) decorated with the technique of cord fastening, one of the handicrafts that have been forgotten over time, has become protected in museums and chests since it is not used today. Women cepken with cord fastening examples in Konya museums were investigated within the scope of the study. It was aimed to produce modern designs suitable for use and to ensure the continuity of the cultural heritage with this research. This article, which is an example of traditional costume dress and embroidery art and is intended to carry these works to the present and to pass them on to next generations, is important because of shedding light on artists interested in this field, creation of written and visual resources and the fact that this technique has not been investigated and used so far. During the review of the literature, it has been determined that there is no study and comprehensive research on the technique of cord fastening. The research is important in terms of overcoming this deficiency. In addition, this article is important in terms of documenting the corduroy textile works with ethnographic values that may disappear over time and, especially, introducing the apparel of the 19th and 20th centuries today. Inventory information of these textile works preserved in museums were researched, a literature review was made on the subject and a catalog was created. The works were photographed and the drawings of those in different styles were made. The characteristics of the samples that are drawn, such as technique, color, pattern and composition, were specified.

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BİR ESİN KAYNAĞI OLARAK GİYİM MODASINDA MOZAİK TEKNİĞİ

Author(s): Meltem Ok / Language(s): Turkish Issue: 32/2020

It’s possible to describe mosaic technique as the art of decorating a surface by small fragments of the materials such as gem, porcelain enamel, glass, wood and ceramic. Beginning from the ancient ages the mosaic technique, which has been used in the decorations, wall tiles and ceiling paneling of many temples, chapels and shelters, has reflected the culture, belief and the life style of the era it was used in. With a history that dates back to ancient ages, it has been one of the art sources of many civilisations and nations, it has passed on the characteristics of the era it was in to the next generations and become the inspiration for many contemporary designers and artists with its aesthetic look and texture. In this study, by supporting with the collection samples from worldwide known designers, it was tried to analyse the effects of the mosaic technique, which can be seen in many art and design products and requires a lot of effort, on today’s fashion, and the techniques used by the designers in order to achieve the mosaic effects. In order to achieve a better analyse, the history of the mosaic technique, production techniques and the materials were also mentioned briefly. Besides, authentic designs that were created by inspiring from the mosaic technique, which has a rich cultural heritage, were also included.

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TUNCELİ’DE BAĞLAMA/SAZ YAPIMI VE MÜZİK KÜLTÜRÜ ÜZERİNE BİR ALAN ARAŞTIRMASI

Author(s): Hüseyin Kara,Göktürk Erdoğan / Language(s): Turkish Issue: 32/2020

Baglama/saz, one of our ancient folk music instruments performed in almost every region of Anatolia, stands on a significant point in teaching and transmission of our traditional music. It is known that the baglama/saz instrument, which has varieties such as Meydan, divan, tanbura and cura and is generally produced from mulberry tree, is begun to be structurally produced by alternative production methods in addition to the traditional ones. Comparison of these alternative production methods with traditional baglama/saz production methods proves for certain that this instrument has a dynamic line and that the potential of this instrument in this sense is open to new sounds. In present article, the historical adventure of baglama/saz and the music culture of Tunceli region are briefly explained and the process of baglama/saz production as well as the questions whether there are alternative/experimental studies in the production of this instrument and what kinds of searches there are, if any, are discussed.

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Tomb architecture and distribution in the Eastern Necropolis of Nea Paphos, Cyprus

Author(s): Vasiliki Lysandrou / Language(s): English Issue: 24/2020

The Eastern necropolis of Nea Paphos is one of the most significant funerary landscapes of Cyprus, primarily because of its connection with the capital of the island during the Hellenistic and Roman times, and therefore of importance for the archaeology of the Eastern Mediterranean. The first systematic exploration of the site took place in the 1980s in the form of rescue excavations. Only limited research has been undertaken since then. This article discusses the necropolis based on unpublished material from the rescue excavations. It presents the tombs’ architecture; partially reconstructs the burial ground; reveals the extension of the necropolis; triggers questions related to the dynamics between nearby necropolis, and its potential correlation to satellite habitation sites.

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RUS BEŞLERİ’NİN ORYANTALİZME ETKİSİ VE M. BALAKİREV’İN “SELİMİN ŞARKISI”NIN İNCELENMESİ

Author(s): Tülün Malkoç / Language(s): Turkish Issue: 33/2021

Eastern music always attracted Russian composers, as Russia, which settled between the West and the East from geographical point of view, remained at the distinction of these two cultures. Glinka, who laid the foundations of the Russian opera, and the pioneering Russian composers of the eastern motifs Aliabyev and Dargomozhsky, are ethnographically striking. Then, in the 19th century, the The Five formed a school by the movement of Orientalism in the works of the national composing school, and it was able to reveal Russian classical music in the context of traditional music understanding. The spiritual value given to “The Mighty Five” "Russian Orientalism" and other cultures and folklore of other peoples, which entered the musical history as a national trend, could also be foregrounded. Russian Five; In this study, the Mighty Five (Moguchaya Kuchka) were examined and Balakirev's work named Selim's Song was examined and its connection with orientalism was revealed. “Selim's Song”, one of the first examples of Balakirev's oriental-themed song, was composed in 1858, four years before Balakirev's trip to the Caucasus, and on Lermontov's poem which is Ismail Bey.

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ERKEN CUMHURİYET DÖNEMİ MİLLİ MUSİKİ POLİTİKALARININ TÜRKİYE’DE MÜZİK SOSYOLOJİSİ DÜŞÜNCESİNİN ORTAYA ÇIKMA SÜREÇLERİNE ETKİLERİ

Author(s): Tuncay Yildirim / Language(s): Turkish Issue: 33/2021

In this study, the Early Republican period national music policies is analyzed impacts to processes emergence the idea of sociology of music in Turkey. The aim of the research, the applied national music policies is put fort impacts processes the emergence the idea of sociology of music in Turkey. Research datas, by using the literature scanning technique and content analysis methods is put together from articles of their wrote about the national music policies between 1923-1944 of some musicologists expressing opinion in this context and sociologist of the period. In this context, the articles of Ziya Gökalp, İsmail Hakkı Baltacıoğlu, Nurettin Şazi Kösemihal, Rauf Yekta Bey, Mahmut Ragıp Gazimihal and Halil Bedii Yönetken are analyzed. As a result of the research the Republican period applied national music policies, by initiating discussions on the sociology of music among musicologists and sociologist of the period, has been seen contributed a positive on the emergence the idea of sociology of music in Turkey.

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Faces and Surfaces in the Landscape of Pasolini’s ‘Palestina’

Author(s): Işıl Baysan Serim / Language(s): English Issue: 10/2020

Hardly known that Pier Paolo Pasolini has created a landscape trilogy through the location-hunting documentaries in his oeuvre. The first of these works is also the one that comprises the spine of this essay, Sopralluoghi in Palestina (Locations in Palestine, 1963), the second one is Appunti per un film sull’India (Notes for a Film on India, 1968), and finally, Appunti per un’Orestiade Africana (Notes for an African Oresteia, 1969/70). The use of historically and culturally layered landscapes from varying perspectives makes his documentaries a “territorial assemblage” in which any number of things or pieces of things has gathered. Following the footprints of Pier Paolo Pasolini, this article aims to explore the film, namely Sopralluoghi in Palestina (Locations in Palestine, 1963) and to present different articulation of space, landscape, territory and place. Particularly, the narrative information, pure observation and his self-experience of landscape are spliced together in mythical as well as historical shots which have been incandescently defined by his poetic realism. Film, indeed, not only does enable to mediate some Deleuzoguattarian concepts penetrating from philosophy to cinema, but also does open new paths for “thinking differently” on the complexity of space. This article, by delving into the real-time shots of the film will problematize the spatial-temporal dimensions are involved in the cartography formed by heterogeneous forces or/and multiplicities defined by “zones of indiscernibility” in the landscape. In this way, I target to reveal its diagrammatic formation which provide the viewer thinking through words and images, nature and culture, faces and surfaces.

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“Şaban”ın Derdi ya da Dertli “Şaban”: “İnek” ama “Kral” Adam

Author(s): Hacer Aker / Language(s): Turkish Issue: 11/2021

Şaban, as a character, is the distressed man of the 1980s. Turkey, hit by a coup, is on the verge of a period which exhibits impudent views on enrichment with the new economic structure. In a period when there was influx of people to the cities and job opportunities were shrinking, the poor needed different practices in addition to their "joy", because the 80s, as Gurbilek states, is not a period of "nobody is perfect" (Orhan Gencebay); those who declare "I want, too" (Ibrahum Tatises) appeared o the stage.

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Modernité et intemporalité chez Brâncuşi. Techniques, matériaux, socles

Author(s): Raluca Cristina Dragomir / Language(s): French Issue: 1/2020

The desire to create a work that is both familiar and exotic, universal and timeless, manifests itself throughout the life of Brancusi, not only in his iconography but also in certain techniques that he appropriates: direct carving, polishing and light games, combinatory, asymmetry, stylization and kinetic art. The artist thinks that the material has a life of its own, a specificity that he must seek and understand in order to achieve unity with the form, considering in a certain way that the sculpture is already contained in the chosen material and that the artist has nothing else to do, but make it appear. Thus, the material contributes to the achievement of the form. With Brancusi, the structure of the socles highlights the spatial affirmation of the sculpture; it somehow protects it from the disorder, threats and arbitrariness of the real world. In this way, the socle serves as a support for the sculpture in a double sense: first of all it detaches it from the anonymous environment of the bodily world, and then it serves as a support for the attraction towards the freedom of a larger space.

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EVRENSEL SOKAK ÇOCUK OYUNLARI: PİETER BRUEGEL’İN “ÇOCUKLARIN OYUNLARI” ESERİ ÜZERİNE

Author(s): Emre Şen,Birsen KÜPELİ / Language(s): Turkish Issue: 45/2020

The article is about a 460-year-old fairy-tale picture called “Children's Games”, chosen from the everyday life of the 16th century Holland and being immortalized by the brush of Pieter Bruegel. Interpreting Bruegel's piece of Children's Games, which tells the social and traditional life of the Flemish people through a game of humor and children's games, has led me to enter into a huge and adventurous labyrinth. Bruegel is the name that comes to mind when it comes to children and theme in art. This study is very important in terms of the variety of games it offers and the fact that it collects all of these games in the same stage and reflects the culture of its age. The striking beauty and originality of the artwork is to re-explain the natural order in children's games. The artist depicts order and hierarchy from his point of view. It's a picture of his genius, even when we're working on things that we call the most insignificant. In this work which combines the daily life of the people and the universal children's plays to the present in a theatrical language and the variety of games it presents, and the audience collects all of these games in the same stage, when the traditions combined with Bruegel's genius added a masterpiece to the art of painting. It was a great pleasure to examine a joyful, exuberant, rhythmic and such magnificent piece of work accompanied by the messages of the games played in the world of these little adults. In this study, various sources were used through library scans. The works written in previous years related to the artist and his work have been examined and the works have been tried to be read from the internet pages and articles. By using the elements and symbols on the artwork, the daily life elements which are the subjects of the period and the life are examined and the meanings such as the clothes, the accessories used and the places have been deduced. The socio-economic structure of the period in which Bruegel lived was tried to be analyzed.

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DOĞA VE İNSAN İLİŞKİSİ BAĞLAMINDA CASPAR DAVİD FRİEDRİCH’İN MANZARA RESİMLERİ

Author(s): Neslihan Özgenç Erdoğdu,Sümeyye ERTOP,Uğur Özdemir / Language(s): Turkish Issue: 45/2020

Human's relationship with nature starts from the first moment of human existence. This relationship has a vital importance, considering the power of nature toward human beings and what it offer to the human beings. The implications of this organic connection between man and nature have also made people feel incapable of the unknownness of natural phenomena. Therefore, human beings wanted to comprehend the sense of nature and solve its secret. Religion, science, philosophy and art have also been the determinants of the historical process of this relationship as ways of understanding and defining nature. As a result of the advancement of science, every change in social structure has shaped the intellectual and artistic attitude of the period and the idea of dominating nature, especially during the Enlightenment period, encouraged the man. This thought, which remained in theory at the time, found its application in practice with the industrial revolution. Romanticism, which opposes the mechanical worldview of Enlightenment period starting from Descartes, has drawn attention to the negative effects of alienation from nature and brought intuition to the forefront of the rationality of Enlightenment. In particular, Romantic artists, who cannot be considered apart from the German Idealism, have frequently referred to the greatness and divinity of nature and the longing for nature in their works. The aim of this study is to examine the factors that shape the relationship of human beings with nature and to analyze through the perception of the period, the ways in which German Romantic artist Caspar David Friedrich handles nature in his landscape paintings.

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FIREPLACES IN LATE MEDIEVAL HOUSES. AN ATTEMPT TO RECONSTRUCT THE APPEARANCE AND FUNCTIONS BASED ON ICONOGRAPHIC SOURCES

Author(s): Anna Marciniak-Kajzer / Language(s): English Issue: 66/2020

The main aim of this work is to show what fireplaces looked like in the Middle Ages, and more importantly, what functions they could have performed. In the archaeological literature until now, it has been claimed that they were not kitchen hearths, but could only be used to heat meals. In this paper, I show that this claim is unfounded. A long search for suitable illustrations led to the discovery of a number of unique representations of fireplaces. Thanks to its frequent presentation in medieval painting, significant differences are noticeable in the way of presenting material culture and its details. The analysis presented in this paper made it possible to identify one more important issue concerning fireplaces that has not yet received any comments. So far, it has been emphasized that religious-themed performances are marked by symbolism and show typical scenes in a fairly unified way. Other ways of presentation of religious scenes have not been taken into account. Scenes showing saints in manuscripts present them in more everyday circumstances than in the panel painting. Unfortunately, such images are extremely rare, here I present one of the more interesting scenes at the fireplace – the Holy Family having dinner.

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BİR SANAT HAREKETİ OLAN MİNİMALİZMDE İZLEYİCİ-ESER ETKİLEŞİMİNİN ALGISAL BOYUTLARI

Author(s): Mehmet Susuz,Ahmet Türe,Ömer Tayfur Öztürk / Language(s): Turkish Issue: 50/2020

One of the breaking points of the change that art has undergone in terms of both form and content is Minimalism. There are processes that affect the existence of every art movement. The sociocultural structure that emerged after the World Wars has had influence in the field of art, as in many other fields. The Abstract Expressionism movement that emerged in this period, aimed at rejecting the familiar structure of painting, detached objects from their real-world forms / characteristic structures and included unusual artistic forms in the process. Despite this hard-to-perceive automatism-based complex structuring put forward by the Abstract Expressionism movement in art, it is a common belief that Minimalism, which aims at plain and simple forms based on logic in painting and sculpture, is "a reaction against Abstract Expressionism". Despite the "subjective" based complex formalism that Abstract Expressionists have created with the intensity of emotion, Minimalists have revealed their understanding of art with the "objective" based forms they have created as a result of a planned effort. However, the simplicity of the forms in Minimalism should not bring to mind the idea that the intellectual dimension in the essence of the works can be easily perceived. The existence of conceptual values should be taken into consideration in the formation of minimal forms. Although minimal art is shaped with an "objective" approach, it is important to reveal the sociocultural motivations that affect the formation of the works in the essence of the audience's ability to perceive the works. Minimalism, which centers the interaction of "industry, object and art", opens a critical space for the audience, who are the receptors of art, regarding the state of art. On the basis of this criticism, beyond its plain style, Minimal art's complex conceptual (intellectual) structure can be manifested. Purpose of this research, To reveal the intellectual foundations that affect the formation of Minimal art and to touch on the perceptual dimensions of the minimal artworks and audience interaction. In this research conducted within the framework of the title of "Perceptual Dimensions of Audience-Work Interaction in Minimalism Art Movement", scanning method has been used to obtain information and documents. The obtained information and documents have been used in a way that provides integrity for the purpose of the research.

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