1950 sonrası Türk Resminde soyut yönelim ve sembolizm
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Dosyalar
Tarih
2023
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Trakya Üniversitesi Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bu çalışma, Türk resim sanatının oluşum evrelerinin, İslamiyet Öncesi ve Cumhuriyet öncesi Türk Devletlerinde nasıl bir yol izlediğini aktarmaktadır. Gündelik kullanılan eşyalar, kadınların kullandıkları tokalar ve yazmalar, savaş stratejileri, silahlar, ilmek ilmek işlenen halılar tarih boyunca sanatımızın bir parçası olagelmiştir. Bu saydığımız unsurları resim sanatımızın simgeleri kabul etmek mümkündür. Türk toplumu, yaşanan savaşların neticesinde Avrupa ülkelerine karşı güçsüz kalmış; Osmanlı’nın Fatih dönemine tekabül eden tarihi başlangıç saydığımızda, Batı’nın sanat anlayışı ile tanışmıştır. Asker ressamların Avrupa eğitimlerinden sonra yurdumuza getirdikleri teknik ve batı resim anlayışı, bazı sanat grupları tarafından kabul görmüş ve bazı gruplar tarafından da geleneği bozduğu düşüncesi ile reddedilmiştir. Devlet akademileri desteği ile Cumhuriyet dönemi ve özellikle 1950 yıllarından sonra soyutlama eğilimleri görülmüştür. Çalışmamızda, Batılılaşma ve soyut yönelim sürecinin geleneğimizden kopmadan yöresel ve ulusal bilincimiz çerçevesinde ilerleyişini kapsayan eserler üzerinde durulmuştur.
This study conveys the formation stages of Turkish painting art, and what kind of path it followed in the pre-Islamic and pre-Republican Turkic States. Every day used items, hairgrip, hand-painted kerchief used by women, war strategies, weapons, and carpets embroidered with loops have been a part of our art throughout history. We can say that the elements we counted are the symbols of our art of painting. As a result of the wars and defeats, Turkish society became powerless against European countries and met with the art understanding of the West, which we will count as the beginning, during the Fatih period of the Ottoman Empire. The technique and understanding of and western painting that the military painters brought to our country after their education in Europe were accepted by some art groups and rejected by some others with the idea that it harmed the tradition. With the support of state academies, abstraction tendencies were formed in the Republican period and especially after the 1950s. Our study focused on the works which show that the process of Westernization and abstract orientation is carried out within the framework of our local and national consciousness without breaking with our tradition.
This study conveys the formation stages of Turkish painting art, and what kind of path it followed in the pre-Islamic and pre-Republican Turkic States. Every day used items, hairgrip, hand-painted kerchief used by women, war strategies, weapons, and carpets embroidered with loops have been a part of our art throughout history. We can say that the elements we counted are the symbols of our art of painting. As a result of the wars and defeats, Turkish society became powerless against European countries and met with the art understanding of the West, which we will count as the beginning, during the Fatih period of the Ottoman Empire. The technique and understanding of and western painting that the military painters brought to our country after their education in Europe were accepted by some art groups and rejected by some others with the idea that it harmed the tradition. With the support of state academies, abstraction tendencies were formed in the Republican period and especially after the 1950s. Our study focused on the works which show that the process of Westernization and abstract orientation is carried out within the framework of our local and national consciousness without breaking with our tradition.
Açıklama
Anahtar Kelimeler
Soyut, İmge, Sembol, Türk resmi, Abstract, Image, Symbol, Turkish painting
