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Illustrations in this article: Hold your breath; We are watching, they don’t see; Look from the inside; What’s a door doing in the command bridge?; What are they doing there; Are these the Middle Ages?; Do we see; There’s something happening outside; We’ve landed in strange water; Keep the door closed; The windows blind; Shelves to fill in a submarine.
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In this paper, five different illustrations with the theme of ‘Prophet Muhammed’s Miraj (Ascension)’ found in two illustrated copies of Nîsâbûrî's literary work titled Kısas-ı Enbiyâ dated 16th century, are examined in terms of composition and figures. Two of these illustrations are included in the Kısas-ı Enbiyâ, produced in Shiraz in the second half of the 16th century, registered in the 'Diez A fol.3' collection of Staatsbibliothek zu Berlin (Berlin State Library). The other three illustrations are included in the Kısas-ı Enbiyâ, produced in Kazvin between 1570-1580, registered in the ‘Keir3’ collection of the Dallas Museum of Art (Dallas Art Museum). In the Islamic tradition, the ‘Miraj’ (Ascension) narrates the journey of Muhammad from Mecca to Jerusalem and from there to the skies. In Islamic book arts, manuscripts with Miraj depictions produced between the 15th and 19th centuries show that Miraj is a popular and accepted subject. In the illustrations examined within the scope of this study, the same composition setup was followed. Due to the subject of Miraj, the common figures seen in illustrations are Muhammed, Burak, Gabriel and other angels. These figures, which are defined as ‘Heavenly Servant Angels’ in the text of Kısas-ı Enbiyâ, can be classified as the ones carrying incense burners; carrying the bowl of light filled with fire; carrying the beverage bowls offered to Muhammad and the ones that prostrate and carry the Quran page. Accordingly, each figure is evaluated in terms of its place in the composition, features of form and style; comparisons are made about the common and different aspects of the figures. In addition, the figures are drawn individually, independent of the composition, in order to present a detailed analysis of their form. The aim of this paper is to investigate the formal features of figures and other visual elements in the depiction of the ‘Mi'raj’ and to evaluate the contribution of visual expression to cultural and symbolic repertoire through illustrations.
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Late Antique and Early Christian Art designates the idiosyncratic content and style of the art which was produced during the Christianity transition process of the Roman society which was nourished mostly by the ancient Greek culture. In this transition process in which the border lines were blurred and the Christian iconography was not standardized yet, the pagan elements were included to the Christian narration or the visual images which were needed by the Christians were articulated into the pagan narration. This process which was lasted between the third to sixth centuries ended by the dissolving of pagan culture into Christianity. After Christianity constructed its own content and image discourse, pagan elements disappeared except rare personifications and mythological premises of some Christian scenes of which their geneological roots cannot be settled down easily. In this period, the philosopher image, one of the prestige indications of the ancient culture, was used for Jesus depictions frequently. In ancient society the notions of morality, culture, education and philosophy were perceived as honourable and closely interrelated with each other. The philosopher figure who possesses these virtues is an educated and restained person, a wise teacher who guides the people around him by the way of his attitudes, his own life and his lectures. In relation to this perception, in Late Antique and Early Christian Art, especially on sarcophagi, Christ is depicted in the image of philosopher/teacher who leads the person to the true knowledge both in life and after-life. Christian theology has created its own sphere and conceptual framework, consequently the identity between the virtuous life and philosophy is abandoned at the end of Late Antiquity. In this milieu philosophy losts its importance, even starts to define an antitheological sphere for Christians. The philosopher image is no longer appropriate for the ones who identify it with the pagan and hence religionless Greeks of the ancient times. By losing the previous value of the philosopher’s image in ancient society, Christ the Philosopher figures have disappeared from the representations.
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The Increasing information and developing technology have caused many fields to enter a rapid change process. These changes gained momentum with the Industrial Revolution (1760-1840), in which mechanization began in almost every field, so the fields of art and design were also affected by this process. The work on photography started and gained momentum with the Industrial Revolution. The aim of this research is to reveal the collaboration process they have gone through since the day advertising and photography came together in this developing process and the importance of this process with literature scanning techniques. Work; It is important to reveal the importance of photography as a visual element for advertising and the place and importance of photography in graphic design.
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In this study, First Years Program of the International Baccalaureate Organization, which was established in 1968 in Geneva, Switzerland to implement an intercultural and universally valid curriculum has been studied. This programme has not been studied before and it is aimed to examine the program structure in question, with the obtained data, information, and analysis, to reveal and understand its features. Qualitative data analysis method was used in the study. Data collection tools are text-based documents and literature reviews. Although, the photographs are for illustrative purposes only. As a result of the research, the following findings of the programme structure were reached: International Baccalaureate Organization, which has universal validity, the students of the profile features; investigating, questioning, knowledgeable, thinkers, communicators, principled, open-minded, sensitive, risk-takers, balanced, and alternately-minded consideration of characteristics such as being an individual in preparing and learning environments where students are active are seen as the full realization of the target. It was understood that the Primary Years Programme consisted of six courses (language, social studies, mathematics, art, science, personal, social education, and physical education), students chose these courses according to their wishes and these courses were given in English. If they choose all of them, they receive 15-18 more lesson hours in addition to their course schedule. In addition, in the scoring system of the IB Programme, the lowest score that can be obtained from a course is 1, the highest score is 7, and to be deemed to have successfully completed the programme, it is necessary to have at least 24 points from the total of 6 courses. In addition to 42, which is the highest score that can be obtained from the courses, the highest IB Diploma grade of 45 can be reached with additional points to be obtained from internal evaluation, projects, and dissertation. It is seen that transdisciplinary themes are used in the programme, which is a thematic programme and it is understood that these themes are not limited to the visual arts course. According to the results, IB Programme has completely different characteristics from MEB curriculums in terms of classification of acquisitions, thematic structure, supra disciplinary approach, and measurement system, it is recommended that comparative research should be carried out as a separate research topic, and this research will contribute to the researches to be carried out is considered.
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In the second half of the 1900s, postmodern systems aimed at removing the difference between high art and low art and stood against the various criteria and virtues of Modernism. During this period, Postmodernism has provided an important opportunity to the production of Kitsch, which owes its very foundation to the the mass culture and the industrial revolution with the production changes occurring in the post-modern period, and thereupon, by taking the popular culture as a basis, it also allocated the necessary infrastructure for its social acceptance. As a result of all these, the anonymous Kitsch creations, which were seen as worthless and vulgar at the time, have been reevaluated in the contemporary art community, and this has led to various arguments and disagreements upon their acceptance as superior art. In this study, the adventure of its gaining prestige and acceptance by becoming the center of attention of the art industry, and as a result of bringing many controversies with it, the amazingly rapid introduction of the "Kitsch" into the art industry is being discussed. Also; an important art figure Jeff Koons, an American Kitsch artist with a global economic success and a controversial reputation in today's art, and his artworks are also being analyzed in order to understand the reinterpretation of the “Kitsch” concept.
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During the Ottoman period, progress was made in many areas including commercial, social, cultural, art and design. In this period, parallel to the development of Turkish art, the development of fabric art was also positively affected. It has been taken care to manufacture fabric weaving, which is under state control, and has been paid attention to the preservation of originality in pattern designs. The palace fabrics, which experienced its most productive period in the 16th century, reached the highest level in terms of raw materials, patterns and design features. In the 17th century, the variety of motifs in fabric designs continued to increase. The magnificent fabrics reflecting the unique features of Turkish culture and art have gained an international reputation by crossed the borders of the empire and have took their place in various museums and art galleries. Today, many works on Ottoman textile art continue to be exhibited in museums abroad. One of these museums is the Calouste Gulbenkian Museum located in Lisbon, the capital of Portugal. The fabric samples that have reached to the present day reflect the rich cultural accumulation. The aim of this study is to examine and document the design features of the fabrics exhibited in the Calouste Gulbenkian Museum, such as motif, composition and color, and transfer them to future generations. Screening method was used in this study. While the universe of the research is composed of textile products in the Calouste Gulbenkian Museum, the sample of the research is 14 fabric samples belonging to the 16th and 17th century Ottoman period, which are exhibited in the exhibition section of the museum. Fieldwork was carried out in the Calouste Gulbenkian Museum. The motif, composition and color features of the fabrics examined within the scope of the research were explained in detail and drawn in digital environment.
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After the Madrid Peace Treaty in 1617 the social and church situation in Senj gradually settled down. A new church organisation was created: the bishopric of Senj and Modruš were unified through the position of the bishop of Senj. After the liberation from the Turks in Lika, this region became part of the Senj and Modruš bishop jurisdiction. Senj became a port with a wide hinterland all the way to Bihać and beyond. The patricians were occupied with trade and maritime affairs and soon became rich. Bishops were mostly coming from the developed parts of Croatia and intended to renew, expand as much as possible the decorated cathedral. Especially in the 18th Bishops Ivan Antun de Benzoni and Juraj Vuk Ćolić expanded and decorated the cathedral with stone altars in collaboration with Senj’s patricians and canons. They also erected the pulpit, organised choirs and purchased new organs, liturgy equipment and tools as well as clothes. The cathedral received a saint’s body from Roman catacombs. This decoration continued until the mid of the 19th century. With its equipment, although a large part of this was ruined or damaged during WWII, the cathedral became the greatest Baroque monument in Senj, as well as in the area between Rijeka and Zadar. The majority of the stone inventory was made in the Rijeka workshop of Antonio Michelazzi whose work can be recognised despite a lack of archival documentation, by its stylistic expression and by comparsion with other famous works from his workshop. This all contributes to the connection between Senj and Rijeka as well as the opening of Senj towards European art tendencies of the era which arrived to this town via Rijeka. This was the golden age of Senj’s new history.
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The paper deals with tattoos of Catholic women from Bosnia and Herzegovina, function of the tattoo from the identity, religious and communication aspect, primarily as a means of non-verbal visual communication as well as its contemporary perception. The traditional/religious tattoo on the example of tattooed Catholic women from BiH, which is the subject of this research, represents a conscious bodily modification historically conditioned by the environment and culture. The paper studied perception of traditional/religious tattoos taking into consideration the fact that more than 90% of the population of the Republic of Croatia are declared believers and whether a person with a tattooed religious symbol is a believer, or whether that person is perceived as a believer because of a tattooed religious symbol/sign. The paper also discusses the possibility of traditional tattoos contribution to the process of new evangelization. The research was conducted on a sample of 310 respondents, and the aim of the research is to determine the perception of religious/traditional tattoos, i.e. whether they are influenced by sociodemographic characteristics, whether it is generally acceptable or declared believers have a more positive attitude and can the traditional tattoo be a communication symbol of declared believers.
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With the success of the BBC and PBS series such as "Italy’s Invisible Cities" (2017), "Ancient Invisible Cities" (2018), and "Pompeii: New Secrets Revealed" (2016), made in collaboration with ScanLab and employing LiDAR scanning and 3D imaging techniques extensively, popular television programmes grasped the aesthetics of spectral 3D mapping. Visualizing urban topographies previously hidden away from view, these shows put on display technological prowess as means to explore veritably ancient vistas. This article sets out to investigate cinematographic devices and strategies – oscillating between perspectives on built heritage championed by two figures central to the 19th-century discourse on architecture: Eugène Emmanuel Viollet-le-Duc and John Ruskin – manipulating the image in a rivalry for the fullest immersion into a traversable facsimile of past spatialities.
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During the 2000s Turkey went through a period in which the capital was managed through a centralist policy and the interest shown in foreign capital resources increased as a result of neoliberal policies. Besides, during that period private museums were developed thanks to collections that were brough out by institutions and the management of art objects was handed over to private companies. Thanks to economic stimulus law, which was entered into force in 2004 following the 2001 economic crisis of Turkey, an acceleration was gained on the investments made in art. In 2000s, art institutions were also put on the agenda along with the museums that were opened by private capital owners and those institutions embarked upon changing the art agenda through their activities just like private museums. With the impact created by recently opened private museums, art institutions and galleries have become a part of the cultural structure developed within society. While presenting its contemporary art collection to the audience through ARTER, Vehbi Koç Foundation has also created a medium, through which it will improve the collections it owns. Within the scope of this announcement, the corporate structure of institution, which is developed since its foundation in 2010 until 2019 ARTER Dolapdere period, is analysed over the exhibitions it organized.
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Although neoclassicism seems to be a continuation of classicism, the content that neoclassicism possesses, philosophical thought, is completely different. But this difference does not create a huge gap between classicism and neoclassicism. Neoclassicism reflects the ideals of the Roman empire rather than the Greek antiquity. These ideals and concepts are presented with enrichment with the concepts brought by the French revolution. Neoclassicism, a child of enlightenment, brings itself into existence with its belief in rationalism and science. Besides, concepts that have not been heard until that time have gained meaning with neoclassicism. The concepts which were brought up with a philosopher rigor by David, the most important artist of neoclassicism, such as virtue, patriotism, freedom, equality and fraternity have been intensely treated. In addition to this, the concept of the republic and the concept of justice created by the revolution after the great struggle, tears, and labor took its place in the art together with neoclassicism. The extreme belief in science has formed the most important pillars of neoclassicism. The unbending understanding of the academy, which has been going on for centuries, together with neoclassicism that has changed mentally and many concepts have entered into art as a subject.
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The globalization that emerged with the technology developed on the basis of the industrial revolution has inevitably caused a conflict of cultures. Hybridization from conflicting cultures has revealed cultural factors that do not conform to dual definitions and are understood negatively for this nation-state understanding. Because these cultural structures are outside the cultural norms drawn by the nation-state. In this study, the existential aspect of arabesque, a hybrid culture, was examined and its relationship with identity was discussed, and then it was found that arabesque culture was related to the liminal area. And this was the reason for arabesque exclusion. In this study, it was not understood that arabesque culture evolved with the change of society, and as a result of this evolution, music types with lighter words emerged by changing in intermediate music such as taverns. Another result of the study was examined from one point of view, contrary to the assumption that the arabesque culture relationship in liminal space would be completely eliminated by improving the condition of humans. It was concluded that this is an identity and existential phenomenon, and cannot be easily erased from the memory of society.
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Gargantua, a lithograph created by Honoré Daumier in 1831, portrayed the French king Louis-Philippe as a gluttonous giant who devours the labor of his people while sitting in a toilet-like throne, and attacked the king’s person and his government with a satirical manner. Apart from its portrayal of the king as a social cannibal, Gargantua also had a scatological humor by representing the king in defecating. For this reason, this lithograph was by no means tolerated by the July Monarchy that struggled to control over the press by censorship throughout its reign. In this research paper that aims to study the meanings and reasons behind Daumier’s portrayal of king Louis-Philippe as a ravenous giant in Gargantua, it will be discussed why this caricature, which the government both censored and sentenced Daumier to imprisonment and fine penalty, discomforted the king and his government so much. In this context, it will be briefly reviewed the political, economic and social conditions in France before and after the 1830 July Revolution in order to get a better understanding on the political atmosphere during the time when Daumier started to draw satirical caricatures for the journal, La Caricature. Later, it will be discussed Gargantua’s literary references, its implications to king Louis-Philippe and his government, the domestic politics in 1831, and the impact of lithography on increasing power of the press in France.
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With the establishment of the republic in 1923, Turkey implemented reforms in the axis aimed at modernizing social structure radically changes and transformations. In the context of targeted changes and transformations, the creation of an educated and modern woman model has become the primary cultural issue of the new era. The cultural importance of the educated modern woman profile, which the Republican ideology tried to create, was followed with interest by the painters of the period and became the subject of many of their compositions. These pictures are very important in terms of documenting the process. For this reason, in terms of documenting the change and transformation of women in the context of education and image in the early Republican period and having a function that serves the said change and transformation as of the period, the image of the woman seen in the series of Akdik’s works known by names such as "woman reading book" or "woman reading" etc. has been considered important as it is thought to be one of the most stable examples of the educated, modern Turkish woman image seen in Turkish painting and it is aimed to contribute to the relevant literature by examining the examples of paintings produced by the artist in the period between 1930 and 1960. It was seen that Akdik composed the female figures he interpreted in his works examined within the scope of his research with his new image in modern clothes and modern home environment in accordance with the ideals of the Republic, and included the book image, which is considered the most important symbol of the educated modern woman, as the main element in his compositions. In this context, it was seen that the artist documents the change and transformation that women went through in the context of education and image in the early Republic period with these works. In addition, it was understood that Akdik played a role in encouraging change by visualizing the new type of woman that the Republican administration wanted to see in her compositions in terms of being a role model for Anatolian women in a period when the literacy rate was very low. Qualitative research methods and techniques were used in the study which general scanning model was used. In the research, data were collected from virtual and printed sources by scanning the literature.
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Art is a visual, auditory and tactile form of expression that is influenced by social, cultural and political events, and it is synthesized with the artist's own experience and knowledge. From past to present, art sometimes turns into a tool of propaganda to influence masses, sometimes a monument or a political discourse with a painting to keep social events in memories. The use of art products as a political symbol or image have a long history dating back to the Roman Empire. The works of art that witness historical events shed light on past events by leaving traces in the visual memories of society. This research aims to examine Pablo Picasso's Guernica as a political discourse in art and to reveal its place in social memory. Guernica is a powerful political work under the leadership of Francisco Franco, in response to the bombing of Guernica in 1937, the Basque town of Northern Spain by Nazi Germany and Italian planes. It was claimed that 1654 people died along with many civilians in Guernica during the bombardment of the air force and the fire that lasted for 3 days. Ordered for the display of the Spanish Pavilion at a Paris World Fair in 1937, Guernica is dedicated to people who lost their lives in the Spanish civil war. Initially met with mockery, the work later undertook an activist role. Bringing the pain and brutality of the past to the present, Guernica is a silent scream created with symbolic expressions. Guernica, which is 3.49 meters high and 7.76 meters wide, is an allegorical cubic work made with geometric shapes using black and white colours. Picasso's statement “painting is not done to decorate apartments. It is an instrument of war against brutality and darkness” reveals Guernica's place in art. The study is a descriptive research and iconographic analysis made within the scope of literature review.
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This study investigates the facial features of different laughter types in historic illustrations. Several conceptually different types of laughter were proposed in the historic literature, but only four types were represented in visual and verbal illustrations by four or more historic illustrators (joyful, intense, schadenfreude laughter, grinning). Study 1 examined the encoding of facial features in 18 illustrations by the Facial Action Coding System and study 2 investigated the decoding by laypeople. Illustrations of laughter involving a Duchenne Display (DD) were perceived as joyful irrespective of their initial classification. In intense laughter, the intensity of the zygomatic major muscle predicted the perception of intensity, but not the proposed changes in the upper face. In fact, "frowning" seemed to be antagonistic to the perception of joy. Schadenfreude and grinning did not have high recognition rates. Going along with the idea that schadenfreude is either a blend of a positive and negative emotion, or solely joy with attempts of masking it, it may entail additional features beyond the DD. Grinning was best represented by low intensity laughter, narrowed eye aperture and mouth prolonging actions. So far, only the DD could be reliably morphologically differentiated and recognized, supporting Darwin’s proposal of joyful laughter being the laughter prototype.
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This article explores the @Covid19Quilt, a global digital participatory art project started by Australian artists Kate Just and Tal Fitzpatrick, designed to gather and share people's experience of the COVID-19 pandemic via craft. Starting with an overview of this continuing project, this article applies an interdisciplinary lens to consider the significance of making and sharing during a pandemic. Drawing on a preliminary thematic analysis of the quilt, we discuss three broad motifs that have characterised the project thus far: home, health, and power. In exploring these three themes, the paper highlights the ways in which the @Covid19Quilt project is an important cultural artefact that draws together ‘threads of collective meaning and understanding’ (Ferrell, Hayward, Young 2015, 3) and opens up possibilities for transdisciplinary and interdisciplinary dialogue.
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The article is an edition of the archival source containing a list of miracles which took place from ca. 1900 to 1913 through the intercession of St. Anthony of Padua in a painting from the Reformed Franciscan monastery in Sądowa Wisznia. The analyzed text is currently kept in the resources of the Archive of Our Lady of the Angels’ Province of the Reformed Franciscans in Krakow. Note that it does not constitute an independent archive unit, but has been instead incorporated in the hand-written Chronicle of the Monastery in Sądowa Wisznia of 1888–1945. The actual source edition – prepared in accordance with the principles set by I. Ihnatowicz, i.e. a complex, double note system – is preceded by a multi-section introduction. It starts with a brief outline of the unique characteristics of the cult of St. Anthony among the Polish Reformed Franciscans, followed by a short history of the monastery in Sądowa Wisznia and the gracious painting, and closes with an analysis of the miracles. The author did not hesitate to point out analogies with the miracles described in the article and to include reflections on the fragmentary picture of the early 20th-century society of the Eastern Borderlands of Poland based on the sources, in terms of their religiousness and a tendency to put faith in a miraculous power of objects of worship. She also used other sources from the archives (e.g. the mass intention book, the chronicle and the documents of St. Anthony’s Society).
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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?
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